PHOTOGRAPHER: ERWIN OLAF
THIS ARTICLE WAS ORIGINALLY PUBLISHED IN THE BI-ANNUAL PRINT ISSUE OF A BOOK OF (A BOOK OF: NOW, SEPTEMBER 2019)
WORDS BY IRVIN RIVERA
Dutch Photographer Erwin Olaf’s bold expression of himself and his ideas through his photography made him one of the most prominent living photographers in the world. In this interview, the artist shared to us some images from his recent series Palm Springs, The Family Visit which is part of a triptych about cities undergoing change. As his other series that are inspired by places, it explores the dichotomy between old and new. Climate change – is one of the key themes as well as the America of the 60’s. Here, Olaf talks about David Bowie, his inspirations, growing up in Netherlands, and his advice to young photographers.
Erwin Olaf, Palm Springs_The Worker - Portrait_2018
How and when did photography start for you?
Photography for my started in the late 70’s. I was a student at the school for Journalism, and one of the assignments included taking pictures. One of my teachers noticed that this medium fitted me very well and my enthusiasm for it outweighed my motivation to be a writing journalist by far.
How was it growing up in Netherlands? How much of it influenced your works?
Growing up in a small town in the middle of the Netherlands was very breezy. There wasn’t much going on. My mother was a homemaker who doted on her 3 sons and gave us a very secure and homely upbringing. I think the Netherlands is a beautiful country to grow up in; there are countless possibilities and it’s a very safe country. Also there is always this sense of equality of freedom, which has influenced me a lot. I am always willing to discuss our rights, and take a stance when they are being chipped at. This is something I think that was instilled in me in my upbringing in the seventies.
Growing up in the Netherlands in the 70’s has formed me. It has influenced me tremendously. I grew up in a time where the people were feeling liberated, and the possibilities (of the body) are endless. In my work, especially in my older work you can see for instance this physical freedom. Nudity was always around, and the body was not something to be ashamed of (or to capitalize).
Where do you usually draw your inspirations from?
I draw a lot of inspiration from everyday life; from what I see around me when I am biking in Amsterdam, or traveling the world, or just when I am lying lazily on my couch staring at the trees outside of my apartment. In general, people give me inspiration for good or bad. What’s going on in the world inspires me. Berlin for instance (my series from 2012, shot on location in 2012) was in a way a commentary on the relationship between adults and children. From my stance the power seems to have shifted. When I grew up children where not so precious, we weren’t treated as princes, and we/the adults weren’t aware of all the dangers of the world. Now, children seem to be in control of what is going. The dictate the decisions it seems. This is something that I wanted to explore.
All the hotels that I stayed in with my travels inspired my series Hotel from 2010. They all had the same desolate feeling, very uninspiring surroundings.
My own life is one of my other inspirations. The general things in life, like growing older (My mature series was inspired by this), grieving (the trilogy Rain Hope Grief) and the relationship with my Mother (Separation) were inspirations for my personal work.
“I refer to issues like teenage pregnancy, discrimination, religious abuses and polarization. The series tells the story of people withdrawing into gated communities as reality invades the paradise we are so desperately trying to preserve. It’s old world versus new world again with all 3 series.”
What are your favorite films?
I have a preference for filmmakers from the seventies, Viscontie, Pasolini and there are many movies I like- Eyes of Laura Mars, Ludwig; there are many and the list changes with my mood. Recently I enjoyed Call Me By Your Name very much. Beautifully filmed and sublime acting.
What is it in David Bowie that inspired and influenced you?
Bowie was such a freak of Nature, always changing, fantastic music accompanied by looks that were always boom! He had such a presence, and he was androgynous, just very special.
Throughout your career you managed to balance Commercial and Personal works. How did you do that?
I think as soon as I was able, I have been careful with the commercial work I took on. I love working commercially. It inspires me. You get to work with people who are very creative, often young, and they have ideas that challenge me. They also teach me new things technically which I can use in my personal work. Also, I love working commercially because the work has paid for my personal work for a very long time. In recent years I have been lucky enough to be able to work mostly on my own personal work, and only take on commercial projects that are really interesting to me. How I balanced it is to always keep on producing both commercial work and personal work. Not let one take over from the other.
Erwin Olaf, Palm Springs_The Kite - Double portrait_2018
Also, how much important is it for photographers to create personal works, especially now?
I think it is very important to create personal work. It forms a photographer/artist, and it’s a way to express the ideas that you have, to research and explore them, give your vision an outlet.
What’s the best way for photographers to realize their own fantasies?
The best way is different for each photographer, but I think it’s extremely important that you develop your own style as soon as possible, because it will make you recognizable, which is important in these times where there are so many photographers.
Fantasy has been one of the most prominent elements of your works. How do you blur the lines between reality and fantasy?
I really like creating a special world where the viewer can immerse himself in. It’s not necessary fantasy but more a special world. I love creating a visual spectacle that really draws the viewer in. Something that captures the eyes first, and once they are in I hope I can knock them out with the underlying message of the work. So in a way the fantasy that you mention is a way of luring viewers in.
Sexuality is another recurring theme in your works. How much influence does Mapplethorpe have in them? When did your love for Mapplethorpe’s works start?
I befriended the famed choreographer Hans van Manen in the early 80’s. For a photo assignment I was supposed to take his portrait. It was Hans van Manen, who had a great love for photography (and Mapplethorpe) who showed me his work (real prints of Mapplethorpe) and who explained to me the workings of a Hasselblad and a studio. It was an eye opener and my love for Mapplethorpe hasn’t died down since. He is a master of light and composition, and the sexuality in his work was exciting and amazing.
Tell us more about your new series Palm Springs, The Family Visit- what is it about and what is the message that you are trying to convey with this new series?
Berlin, Shanghai and Palm Springs form a triptych about cities undergoing change. The series in Berlin was produced in 2012, a period when dark clouds were gathering above Europe. It highlights my concerns about freedom of expression and democracy, and the transfer of power from an older to a new generation (as mentioned earlier, the power of the child versus the power of the elder). Shanghai is a hypermodern metropolis in China with a population of 24 million. The series made in this city explores what happens to the individual in an environment like this. In Palm Springs, I again focus on topical issues. One of the key themes is climate change, though at the same time the images also recall the America of the 1960s, which I am very fond of and hugely inspired by.
I refer to issues like teenage pregnancy, discrimination, religious abuses and polarization. The series tells the story of people withdrawing into gated communities as reality invades the paradise we are so desperately trying to preserve.
It’s old world versus new world again with all 3 series.
What’s your recipe for success? How do you stay relevant?
Unfortunately there is no recipe for success otherwise I would have sold it by now!
I think being relevant (if you can call it that) has to do also with staying in touch with what goes on in the world and around you in your own circle. In recent years I have been very vocal about the freedom of speech. I feel that this is a constant battle and struggle. Here in the west we are sometimes willing to give in some of our rights to appease others (or our governments think that that is a good idea).
What has happened with Charlie Hebdo for instance was something that touched me deeply and inspired me to make self-portraits (Tamed and Anger) about being muzzled. Being unable to speak.
As long as I don’t retract into my own little bubble I will be ‘relevant’, whatever that my mean.
You mentioned in one interview: Master technique first and expression is secondary. Can you expound on that?
I think it is important to know what you are doing, with your light, with your camera etc. once you master the technique you can use it to express. I am not a big fan of work that is just done, without regard of the technique.
What do you think is in store for the future of Photography?
Hopefully it will be around for a lot longer. There is a lot of talk about film/moving images taking over in Harry Potter style, but I think there will always be room for stills. Also, I feel that there is a re-appreciation for craftsmanship, for old fashioned techniques, dark room prints, silver gelatins. It is something that I applaud. I have been producing in my own darkroom again in recent years, and the beauty of a good silver gelatin baryta print is unmatched. So hopefully that stays.
If you are a book, what book will you be and why?
A picture book probably because I love photographs.
What advise can you give to any artist of any age, at any point in their career do to be successful like you?
Work hard, be friendly and develop your own recognizable signature style as soon as possible.
What can we expect next from you?
There are many exhibitions in 2019, in Feb in the Gemeente Museum Den Haag, together with the Fotomuseum there which is showing older black and white works, a show in the Rijksmuseum is scheduled shortly after these shows, and in Shanghai, Seoul New York and Paris shows are being prepared for 2019, so it’s a very full year.
Also a new book is out - ‘Erwin Olaf, I Am’ published by Aperture. It’s a beautiful overview of which I am very proud, it also includes my latest work, Palm Springs.
Erwin Olaf, Palm Springs_American Dream - Portrait of Alex_2018