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Noovo Editions

Noovo Editions is an independent editorial project with online and paper editions. First of its kind in Spain from an unique and contemporary perspective on the international panorama,
Noovo seeks not only to be an aesthetic arbiter but also a cultural mediator at the juncture between Fashion, Photography & Jewellery.
A platform to show the highest level of creativity from around the world

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Interviews -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
 

 
--------------------------------------------------------------------.INTERVIEW WITH Tim Georgeson
"I’m attracted to what is unusual, offbeat and outsider in society. I like the people that stick out because they’re brave, individual and sometimes visionary, their energy and style reflect their values, which tell us so much about what matters in the underground and therefore where we are going as a society – it gives us the juice"

Tim Georgeson's advertising, art and environmental portraiture feature
in CODE, Colors, The New York Times Magazine, National Geographic and many more magazines. His avant-garde, award-winning print campaigns shot with agencies such as KesselsKramer Amsterdam, 180, and Springer and Jacoby, have been featured with a lot of hoora around the world. He has won numerous prizes, including World Press Photo, NY Festival, Cannes, and PDN awards.

His photo work has been shown in solo and group exhibitions to critical
acclaim, and been collected in private collections in Australia, Holland,
Canada, Hong Kong and America, and in the permanent collection at The
National Portrait Gallery of Australia. His funky little films are
garnering a cult following and are currently being hailed and collected in
the avant - garde circles.

When not exalting strangers in the far flung corners of the world as they
stray under his lens or sit across him at a bar, Georgeson can be found
skateboarding with reindeer herders, escaping with a circus, headbanging
at a heavy metal show or sipping wine with tarot cards.

Could you introduce yourself?
Hi, my name’s Tim.

Where does this passion for photography-video(image) come from?
A desire to connect. A desire to inspire people emotionally. A desire to provoke. If someone laughs, cries, screams, jumps, fucks, wants to change something because they’ve been moved by my work, I feel happy.

How would you define your work?
Raw. Intimate. Emotional. Hard. Real. Confronting. Strange. Visceral. Captivating. Mysterious.

Tell us a little bit about your photography style, what do you think
makes it different?
It’s immediate and spontaneous, raw and explicit – and it’s honest, so there is a loose, grungy, streetness to it that comes from my background as a photojournalist. As an artist, I am not conceptual or deterministic. I come across the most intriguing characters in life. They inspire me and I’ll get an idea about them as a person or as a subject/symbol and then I’ll hang out with them, wait for the mystery to come out, then shoot. Even if working with stylists, make-up artists, job briefs, models, etc., I shoot from the hip with no scripts. I am free and I tell the story the way the subjects tell it by hunting them, in a way. Their energy filters through me via the chemistry that we develop. Spatially, my eye is graphic. I never look at a subject and center it. I shoot from left or right of frame. This gives me the fly-on-the-wall advantage and allows the power of the subject to fill the image. I love the energy that this creates. This is a different approach to the Hollywood-style mega-production model that so many people work with. I’m more improv, dogma, guerilla. I see that as an exciting movement in tomorrow’s visual world.

We found your work quite interesting, not only for the use of the photographic techniques but for the concept behind those pictures. Would you explain a little bit about what you want to express in your work?
I’m a people person. And I’m attracted to what is unusual, offbeat and outsider in society. I like the people that stick out because they’re brave, individual and sometimes visionary, their energy and style reflect their values, which tell us so much about what matters in the underground and therefore where we are going as a society – it gives us the juice. So through the subjects that I work with, I hope that I am able to communicate, and they are able to express through me, something of their uniqueness and beauty, even if that’s ugly – as well as something of l’air du temps.



Is the photographic image (photo and video) the best way for a contemporary artist to get an easy position in the world of art?
I don’t think that there is any easy way to get an easy position in the world of art. Either your work is compelling and relevant or it isn’t, and this is true for every medium. I do think that photography and video have an emotional velocity that impacts quickly. They are also mediums that amateurs with smart phones can use, so this gives them a currency as a communication tool, a streetwise edge, and a hope, that is harder to garner through painting or sculpture, for example.

Do you use artificial tools to compose your images?
No. I’m shooting mostly with vintage cameras on film, which is so low-fi and unorthodox but I prefer the emotion you can capture this way – and I don’t crop or photoshop unless held at gunpoint.

What would you enhance in your work?
I want to be shooting more films.

What do you like most to photograph? or in which area do you feel more comfortable?
With my personal work it’s very spontaneous and all about the situations that I walk into or are just revealed to me on a daily basis, which as I’ve been alluding to, involves outlaws in some way, be they political, sexual, social, stylistic. It’s story-centric and personality driven and it champions the underdog. In my commercial work, this carries over into powerful storytelling and lyrical imagery packed with emotion – if you’re going to buy Reebok shoes, you might as well be entertained with the commercial, right? You might as well be moved. With all the malnourishment around, it’s like feeding people a visually nutritious meal. This is very satisfying to me.

What artists and photographers are you influenced by, and whom do you enjoy?
Some of my lifelong loves: John Baldessari, Boris Mikhailov, Daido Moriyama, Cindy Sherman, Nan Goldin, Diane Arbus, Tracy Moffat, Larry Clarke, Lars von Trier, Bill Viola, Salvador Dali

People whose work I’m loving right now: Laurel Nakadate, Harmony Korine, Miroslav Tichy

How do you balance photography -video (image) nowadays?
For me the transition between still and motion seems fluid because my photographic eye is so cinematic. I’m very low key with my film shoots, it’s just me and a few crew – very intimate, very liberal. It reminds me of Frei Otto’s lightweight structure ideal, or Hemingway’s moveable feast – we have a great time and we’re packed up and gone by morning, without a trace.

What are your plans for the future?
I’m currently preparing to shoot a film of diaries about three very different young boys. I am working on some humanitarian shoots for advertising and would like to do more of that to even out the playing field in the media between the power players and the ones who care. I’m doing this with my partner, Caia Hagel, through a boutique creative hub we’ve set up: www.rightfootcreative.com

I would like to keep a healthy diet of shooting still images and motion, these compliment one another and feed each other. I’m going to continue doing my part to bring in the millennium shift by exposing more and more people to art in commercial worlds, and more and more people to real life from the comfort of their couches. This way we all get to participate.

 
More Info: http://www.timgeorgeson.com

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