Phantom der Lust

Le portrait d'un suicide en trois dimensions I

Ethan Coen, Joel Coen

A Serious Man

Larry Gopnik: I don't want it to just go away! I want an answer!

Rabbi Nachtner: Sure! We all want the answer! But Hashem doesn't owe us the answer, Larry. Hashem doesn't owe us anything. The obligation runs the other way.

Larry Gopnik: Why does he make us feel the questions if he's not gonna give us any answers?

Rabbi Nachtner: He hasn't told me.






Le portrait d'un suicide en trois dimensions II

Le Samouraï. Encore

Jean Cocteau
Newsweek. May 16, 1955.
An artist cannot speak about his art any more than a plant can discuss horticulture.

Les Autres

Jacques Lacan
Ornicar?. Seminar VI. 1982
Il n'y a pas d'Autre de l'Autre.

The One and Only II

Charles Chaplin

A Dog's Life
[tagline]: "The One and Only"






Dark Knight II


Christopher Nolan

Batman Begins
Bruce Wayne: It's not who I am underneath, but what I do that defines me.






Suprématête: Carré noir I

Kasimir Malevich

Suprematism
The square = feeling, the white field = the void beyond this feeling

Funiculus I




It is a combination of different aesthetic values, high and low genres that attracts me most of all. Comic books, grindhouse movies, horrors, noir detective novels, sci-fi  pulp - the boundaries that separate this "cultural trash" from "fine art" are not so impermeable as they seem at first glance. After all, "Crime and Punishment" was initially written as a murder story and published as a "dime novel".

Modern visual perception endorses interpenetration of different kinds of art. This opens opportunity of "smuggling contraband" of unpeculiar aesthetic concepts into photography. Works of such different photographers as Tokihiro Sato, Tommy Oshima, Frank Petronio are brilliant examples of this trend: the use of classical means of expression allowed them to achieve a new visual experience just by "shifting an assemblage point". And this experience is far beyond limits of photography, far beyond its conventionalities.

I'm just trying to translate my very personal obsessions and fears into photographic language. It's not a manifesto, just a sort of my own "Inner Mongolia".

I use film because it is not perfect, not ideal. You can't control the whole process when using film camera, you're just co-creator. It's not about technical details, it's all about your communication with the camera and the object.  And I like this imperfection.


By Phantom der Lust (Russia)










hasselblad 500cm, ilford panf plus 50, fuji reala 100, planar 80mm f2.8 cf t*
g.zuiko auto-w 35mm f2.8, olympus om-1n, kodak t-max 100







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