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Today, Bookpleasures’ Reviewer Jessica Roberts has the pleasure of interviewing Nathan Anderson, photographer for Decay.

 

 

Good day Nathan and thanks for participating in our interview.

 

 

Jessica:

 

What inspired you to create Decay?

Nathan:

 

Long walks in the evening.  I love the night.  There is also a period, what some have referred to as "The Magic Hour" when the last light of day, about the last 20 minutes of daylight feed into the darkness.  This is a beautiful moment where many ideas abound including that of decay.  It is also a point of merging light.  Form becomes shadow and then radiates with its own ghostly aura taking on this spectral quality as if illuminated from within.  It is impossible in this moment to differentiate.  If walking in a forest then the entire landscape becomes one gesticulating mass.  All the ideas of night, of decay, death, but much more play about in this.

Jessica:

 

From what age did you start to have an interest in photography

 

Nathan:

 

Photography began around the age of 26.  Previous to this I worked in filmmaking.  I have always been interested in images but the heart of this goes back to painting.  Mark Tobey, Morris Graves and even John Cage's work have fascinated me with the possibility of being able to create an image that has a kind of living prescence.  I don't know if this is possible with photography as it is becoming increasingly detached from the hands and transported near completely through the computer in our digital world.  Look at the work of a Charles Burchfield, his hand is pressed into every inch of the painting.  How does this compare in digital photography?

Jessica:

 

Do you have any personal favourite photographs and why? 

 

Nathan:

 

No, only those that I feel I had little part in creating, something that would then continually surprise me.  If I can look at a photograph a year from now and still wonder about it, then I feel there is some measure of success.  Often what I find interesting is not understood by the audience and you wonder how isolated you are from the world around you.  It is often tricky to try and create something that seems genuine to you but that does not veer completely to the esoteric.  I want people to gain ideas about things when they view my work.
 
 Jessica:

 

What are your favourite things to photograph? 

 

Nathan:

 

Where I am at, wherever.  There are essential moments, expressions, movements always in this place.  What is confounding and perhaps greatest about the medium of photography is that it invites examination, no matter how banal the subject.  I want to try to get at the kind of complex dynamism that I have witnessed so much in the wilderness.  I spend a great deal of time in the desert, the mountains and places in America that are very distant from our everyday world.  There is a philosophy that I have gathered in this raw nature and I wish to bring it to my photography and to whatever I would point my camera at.
 
Jessica:

 

Who in the world of photography would you say you most admire? 

 

Nathan: 

 

A lesser-know morrocan photographer, Touhami Ennadre and also Japanese photographer Inose Kou.  They are both photographers of daring because they choose to look into the darker aspects of this world.  I do not mean in a sociological perspective but instead one that understands the world as myth and sees itself as mysticism.  These are near impossibilities in our technological world, yet these photographers seem to see beyond the material realm.  I can name many painters who share this view but it is harder with photography and so I greatly admire these two men.  They are a rarity.
 
 

Jessica:

 

What does the world look like to you through your lens? 

 

Nathan:

 

That depends on how willing I am to look.  Often a thing tremendously full of life and dynamism but photography creates the photographer.  I am moving further away from photographing the natural landscape and more to trying to work in man-made environments.  This is because I see the world increasingly being dominated by the mind of man and I have no choice but to confront this reality.  The world is looking more and more aggressive, violent and consuming in its technological avarice.  We seem poised to construct our own realities, even our own evolution.  We are omnipotent today.  There is an acceptance of the inevitable and it it feels fatalistic in the worst way to me.  The modern or post-modern world is consuming itself.  I don't know how my production of images within a culture of infinite image-creation can have any affect.  I suppose the world looks a bit dark today.
 

Jessica:

 

What are you other hobbies and why?
         

 Nathan:

 

Ambient sound recording, which I think is more potentially creative and far more radical than image-making.  The process of image creation is too limited now that technology is so vast.  Sound is something we still don't often think about and so has a certain freedom from our preconceptions that photography lacks.  We all have ideas about what an "image" should be but what about a sound?  What I find interesting about sound recording is that for me, it has no point of view.  When I photograph I find myself coming at the subject already with pre-defined ideas.  I make judgements too much of the time.  When I am recording ambient sound, say of a busy city boulevard or hiway or any city landscape, my mind stops its preconceptions.  There is only a kind of void or space in which the sound/s exist.  I do not feel this kind of freedom in photography and so this is what I mean that sound recording is more radical in possibility for me.

A huge thank you Nathan for sharing with us your thoughts and feelings!


Click Here To Purchase and/or Find Out More About Decay

Click Here To Read Jessica's Review of Decay