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August 21, 2014

Still Lives: Philip Sinden

Portraits and Serendipity from the London Photographer

“I guess this is my way of interpreting my very religious upbringing and turning it back on its head,” says photographer Philip Sinden of his as-yet-untitled new project that continues our three-part spotlight on NOWNESS’ longtime contributors. “I got in touch with life models­, people who are used to being drawn, and instead photographed them on a large 5x4 film format in a studio over two months.” The images are his first dip into nude photography, and are juxtaposed here with baroque interior shots of cathedrals and mosques captured during his travels in Slovenia, Ljubljana and Istanbul. “All photographers use the same equipment to shoot, but we all come up with something different,” says the London-based Wallpaper*, Vogue and Telegraph Magazine contributor. “You interpret life by the way you see things. In some ways, I don’t think you have much control over that.”

Is religious iconography a recurring motif in your work?
Philip Sinden:
I had a religious childhood, so it was something that was around all the time and I shot the nudes in a very loose way that maybe echoed some poses from paintings from Spanish artists. I started photographing interiors of churches with certain particular people in mind from the nude series to put them together.

Are there any greats you tend to reference?
PS:
I did a series of priests so I was looking at El Greco a lot, Velasquez. I like abstract paintings like De Kooning, possibly a bit of Irving Penn. I really like street photographers at the moment like Mark Cohen. I think his loose way of photographing people on the street is really interesting, so that’s something I’ve been looking at a bit more recently.

What do you think of the instant imaging fostered by social media?
PS:
I think it’s great. I’ve never been part of Facebook particularly but Instagram is interesting in the way it makes you look at things again. When you’re shooting photographs all the time, you have a way of working but to suddenly have the freedom to just take pictures of anything. I use a BlackBerry so I then interpreted it onto an iPad. In some ways it gives me time to think but maybe that’s cheating, I don’t know. I think it’s a great way of putting your own work out there as well, just getting instant feedback.

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Spotlight

Seduced and Abandoned

Ryan Gosling Gives An Entertaining Insight Into the Perils of the Hollywood Audition

“The movie business is like the worst girlfriend you’ve ever had,” declares Alec Baldwin, the veteran actor and star of James Toback’s documentary Seduced and Abandoned. “You are seduced and abandoned over and over again.” The hard-hitting Hollywood director returns to Cannes, where he triumphed in 2008 with his documentary on Mike Tyson, and puts the mechanics of the film festival itself under his microscope. In the wry meta-film, The Glengarry Glen Ross star and Toback work La Croisette Boulevard like the undoubted pros they are in a determined attempt to secure funding for "Last Tango in Tikrit," a sexually explicit allegory about post-Iraq disillusion in which Baldwin would take the lead. “Alec and I acted in a scene together in Woody Allen's Alice,” says Toback. “Our scene was cut from the final version but the irrational sense of connection I felt with him, both as a screen presence and as a person, lingered after our brief Woody experience.” The duo quickly discovers why Somerset Maugham described the Riviera as “a sunny place for shady people” but the impressive list of auteurs and actors they interview––including Martin Scorsese, Ryan Gosling and Francis Ford Coppola––are disarmingly candid. “It’s a celebration of film, not so much of the industry,” says Toback. “I have learned that the more movies I make, the more impossible it is to get excited by any film which is not filled with surprises, uncertainty and the daily need for invention.”

Seduced and Abandoned is released February 17 on Soda Pictures

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Spotlight

The Wait

Chloë Sevigny and Jena Malone Are Sisters Caught Up in Director M. Blash's Psychological Drama

Chloë Sevigny and Jena Malone sway to The Cure’s “Sugar Girl” in an excerpt from The Wait by M. Blash. Shot two hours from the director's home of Oregon, the film is the follow-up to his 2006 debut feature Lying, which also starred today's leading pair. Against an expansive, forest fire-ravaged landscape, the multitalented auteur—whose music promos for operatic indie bands Austra and Owen Pallett sit on his resume alongside exhibitions of his artwork with Jeffrey Deitch—creates a tense tale of two siblings facing the aftermath of their mother’s death: deciding to keep her body in the family home following a cryptic phone call informing them of her imminent return, a conflict ensues between the pair. “In times of stress and grief, peoples’ minds can go into fail-safe mode and believe whatever they want,” Blash says of his film’s subject. “It's really about that suspended state when one experiences something traumatic, it kind of looms and time begins to operate differently.”

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