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GENRE Magazine, named 2003s Maggie Award winner for Most
Improved Consumer Publication, marks June with a Special Collectors
Issue that brings together sixteen of the nations top artists in
a special portfolio that shines light on the cultural and political significance
of Gay Pride, an important and nationally recognized annual
celebration. Sixteen renowned photographers Duane Michals, Christopher
Makos, Michael Childers, Ed Freeman, Austin Young, Joe Oppedisano, Steven
Underhill, Kobi Israel, Brian Orter, Ohm, David Vance, Brian To,
Jason Penaloza, Lendon Flanagan, and illustrator Joe Phillips were
commissioned to create artworks based on the concept of Gay Pride.
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Do your photographs have a title?
No. I want my images to arouse the viewer's imagination so that each
one is left to his or her own emotional experience. The viewers are
welcome to put their own title to my photo, or better still - to leave
it without a title at all, simply because you may find something else
in it when viewing it the following day. Provoke has a negative connotation
= stimulate, arouse, excite (are synonyms with a positive connotation.
This is why I made the change above.)
What does "Pride" mean in relation to your photograph?
I am obsessed with eyes and the look that they convey. You can gaze
at any of my images and at first see a beautiful young man - but
when you look into the eyes you will find many trapped emotions
- fear, hope, sadness, an urge for love, passion etc...
In this case the eyes project many different emotions, confusing
to the viewer, but also confusing to the boy... he is waiting. For
what? For whom? He is afraid, but at the same time he is excited.
He is insecure, vulnerable and worried, but also proud in himself
- in his youth and beauty, in his independence... This is the kind
of "pride" that appeals to me - a "natural"
pride that is only one part of the whirlpool of emotions and feelings...
How does your photograph relate to your larger body of work?
My projects are always some kind of journey into my inner world
of memories, conflicts and trapped emotions based on my own experiences.
So is this specific image, one frame is a series of photos titled
"Fragments of Life", where I try to recreate and contrive
fragments in my own life and psyche as a young Israeli, discovering
sexuality in a "macho" society .
The trapped emotions in the eyes of this young man are my own....
Can you tell me a little "behind-the-scenes" information
about the photo, location, models, circumstances under which it
was shot?
In this case, I went "all the way" in reframing a fragment
of my own life, and decided to shoot the photos in the original
location, where I remembered myself hiding in a car in my army uniform
(I was a young soldier at the time), full of fear and excitement,
checking out the activity at the "Gay beach" in Tel Aviv
just below the "Independence Park" (a known cruising area
in Tel-Aviv). I was fascinated and aroused, but also terrified that
someone who knows me will recognize me.... It was quite strange
going back to the same place, at the same time of the day (twilight)
with a young guy I was using as a model and the photography equipment....
Strangely enough the model was exactly the same age I was when I
"lived" this scene ten years ago...
Any significant stories or anecdotes about the shooting of the
photo that might be interesting? Well many people ask me about
my models . I like to find them "in real life environment"
- clubs, streets, beach... they are not professional models. The
one in this photo, Eyal, is straight and is 20. I saw him in a club
and was immediately drawn to the sensitive look in his eyes and
face. We became friendly and spent many nights in long " spiritual
" conversations about life, sometimes both of us just in underwear
(he knew all about me and the meaning of the photo of course) and
although we never had any sexual contact, I felt great intimacy
with him.
How has being out and gay influenced your work as a photographer?
For many years, I photographed mainly nature, urban scenes and landscapes,
always looking for an "emotional" content in the object,
even though it was a building or a landscape. In a way, I think
it was an emotional substitute to what I discovered later, when
I "came out" in my photography.... It took me 10 years
to move on and start dealing with real people and use " real
people " and be able to challenge my own personal emotions
by recreating old and current feelings and emotions. Although personally
I "came out" quite a while ago, in my photography I "came
out" only in the last 2 years.....
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