A little bit more information about my project in Polish here:
A part of the interview in English by Vera Zborovska for the Contemporary Lynx Magazine (London, Great Britain):
In conversation with Valentyn Odnoviun
From the 4th to the 20th of September in the Polish city of Sopot will be held the photography festival “W Ramach Sopotu”. During the 6th edition of the festival the exhibiting artists will include not only residents from Poland such as Marta Berens, Maksymilian Rigamonti and Piotr Zbierski, but also foreign photographers: Sergey Melnitchenko (Ukraine) and Valentyn Odnoviun (Lithuania). I had a chance to talk with Valentyn about his art and the photographer’s future.
Vera Zborovska: How did you begin your journey with photography? Which photographers influenced you?
Valentyn Odnoviun: I first started with photography at 17 years old as a part of the rehabilitation after undergoing heavy cancer treatment via chemotherapy and radiation, from the age of 13.
My “dive” into conceptual photography began when in 2014 I started my MA research titled “Correlation Between the Image and the Reason for the Image” at Vilnius Art Academy, Photography and Media Arts Department.
I wouldn’t say it was actual photographers who influenced me. I would say that above all I was influenced by philosophers such as Vilem Flusser and Jacques Derrida, by my supervisor professor Alvydas Lukys, by the artworks of Jackson Pollock and Mark Rothko as well as forensic investigators.
VZ: Do you think photography is an illustration of reality or does it generate its own reality?
VO: A photograph does not tell us much by itself. For me, a photograph is more a canvas that is open for interpretation.
VZ: In that case the viewer has a key role in the interpretation of the photograph. If so, don’t you think that the viewer must also have the historical and aesthetic context of the photograph?
VO: With an “abstract” photograph the viewer plays a bigger role in the reaction to, and thus the creation of the image, which is triggered by the context and reflected back from the surface of the photograph into the viewer’s mind.
If we merely look at an unknown photograph, it is impossible to know what it is a photograph of; without history or context, a range of interpretations can surface. The viewer himself creates meaning based on the baggage of his personal, cultural and historical experience and to some extent from collective unconsciousness memory. The image acquires its meaning in the context in which it was placed, and this meaning becomes a new reality for it.
Interviewed by Vera Zborovska
Edited by Laura Mancini