MOSSLESS: How has your photographic process changed since Odd Sympathy?
ALANA CELII: During that time period my process was very much about going out into the world and finding what I felt, now it is very internal to the point of neurosis. I feel confined to a small working space where as before I felt like everywhere was a possibility to create, but I’m currently stuck in the city. I find myself working off my bedroom floor, which reminds me of being sixteen again. I feel like because of that working method, I’m returning to old feelings I had ten years ago. In general, I find myself shooting less and making things with my hands more. Everyone says that it’s impossible to shoot in this city, and I fall into that way of thinking as well.
4 Jan 2012 / 11 notes
MOSSLESS: Can you think of an image that stuck with you?
BOBBY DOHERTY: Well I remember I went to this one gallery opening and I can’t remember the artist’s name or anything but he had this video piece of a hand. You know when you leave your hand on a surface, and you take it away and it leaves an imprint? Well, it was a video of an imprint in reverse so it was slowly appearing. That stuck with me so much. Something about that, to me, linked to all those vertical pictures that I take. Maybe it was because it was filmed vertically, but almost right after that I went home and took this one picture of a wet handprint on my bed. Lately, in having a lot of my work seen at once as a whole unit, I have started to realize it has a disarming quality where having everything vertical makes everything look and feel almost like an archive, a scientific index of things. Initially they all looked liked simple colorful ideas thrown together. Once you get deeper there’s an uncomfortable consistency to it.
3 Jan 2012 / 27 notes
MOSSLESS: I love this one.
BREA SOUDERS: This one? Yeah I like it… I like it as an image.
ML: Maybe you’ve looked at it too much.
BS: Maybe. So this is interesting in that it’s based on a dream by Hellen Keller. And I thought that that was interesting. But these are all my interpretations, obviously they’re very stylized. In her dream, [her hair] didn’t have a parting like that. I put myself in these a lot.
ML: Do you remember what the dream was?
BS: It was just a fragment. It was this cloth that was wet and that she put over her face and that was it. This dream journal has a lot of fragments, and some of them are longer but I really focused on the fragments. It was a very psychological project for me. I mean it’s about taking a fragment from other people’s dreams makes it sort of… metaphoric for the fact that we can’t really understand anybody. So taking it, removing it, and putting it through my own filter and then by the end, by the time it’s all done you don’t really have any idea who this person was anyway. It’s about looking for meaning in people and things and never really finding it but it makes life more interesting.
2 Jan 2012 / 113 notes
MOSSLESS: When did you get into photography?
SEAN VEGEZZI: I got into photography maybe 2 years after 9/11, maybe a year and a half… basically after that movie Jackass came out, and it was this movie with people going crazy… it was the coolest thing for a kid to see.
ML: Yeah, I remember that. Good times.
SV: You’d want to be like them. And I was like, woah, I need a video camera. So I got this video camera to record all this foolery around lower Manhattan. Me and my friends running over the tops of taxis, doing dumb shit. And then I guess I transferred that same energy—the desire to record and document—into exploring. I started bringing my camera on me, walking down to Ground Zero and into the subway tunnels… and it took so long to get the footage. I had the worst computer ever. I had to take the hours to upload the footage, edit it, and I was like, I should just take pictures. It’s so much quicker. Instant gratification, especially with digital cameras coming out at that time.
I got my first digital camera shortly after I had the video camera because I got bored with it. I picked up a digital camera and that was way better, because it was… instant pictures that I could show my friends. I don’t think Facebook or Myspace existed then, so I would just show pictures to my friends at school. I would come in with pictures of me on top of trains, in abandoned stations, in the tunnels… it was kinda like a bragging thing. Then I got really into the pictures and I stopped showing them off. It got real personal to me. I’d go alone, I’d go with friends, and really started to document everything with this little point-and-shoot camera. Then I got a more advances point-and-shoot that you could do long exposures with, and once I learned about long exposures and how a camera works… how to make the camera more sensitive to light and everything… I got really, really into photography.
1 Jan 2012 / 10 notes
We’ve run out of Issue 1’s silkscreened boxes, so we’ve made the remainder of our first issue available in clear plastic sleeves. Get them here.
Dashwood's got them too.
31 Dec 2011 / 17 notes
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7 Dec 2011 / 14 notes