Photographers on Photographers: Misael Hernandez in Dialog with Cole Barash

©Cole Barash, Ecosystems, 2025 8 x 10 in, archival rice paper print

Every August we ask the earlier Top 25 Lenscratch Student Prize Winners to interview a hero or a mentor, providing a chance for dialog and connection. Today Misael Hernandez and Cole Barash are in dialogue. Thank you to each of the artists.

I used to be launched to Cole Barash’s work within the final yr of my MFA research. A brand new up to date gallery was opening in Buffalo, so I made a decision to browse the artists on their web site. Amongst the various proficient artists, Cole’s tactile and dynamic work instantly stood out to me as an thrilling follow in fixed evolution. At the time (and nonetheless to at the present time), I used to be finding out and experimenting by way of themes of panorama within the Pacific Northwest, geologic materials, heritage, and the bounds of pictures, so I used to be compelled to come back throughout a profession that shared related pursuits and was so invested and grounded of their understanding of the photographic medium. I might go on to get my palms on Barash’s newest monograph, Kayaker, a dynamic venture that mixes images, set up, sculpture, and private narrative all below the identical title. Kayaker left an eternal impression, and I take into account it to be a venture price coming again to time and again. Fast ahead just a few months, and the chance to interview an artist for Lenscratch, my quick thought was to introduce myself to Cole and kick off an thrilling dialog round his follow and the medium of pictures.

Cole Barash (b. 1987) is a multidisciplinary visible artist whose follow spans analog, digital and archival pictures, sculpture, and movie. His portraiture and still-life works are distinguished by an natural, spontaneous intimacy, capturing moments of quiet, but profound, connection. Barash’s creative inquiry revolves across the interaction of shade and composition between objects or temporal occurrences, usually culminating within the creation of books or immersive installations. Drawing from a childhood immersed in pure landscapes, his work stays deeply influenced by nature—not solely as a bodily presence however as a dynamic pressure that shapes each type and notion.

Barash’s work has been exhibited globally, and his books are held in outstanding public collections, together with the Franklin Furnace Archive and the MoMA Manhattan Artists’ Books Collection. His pictures has garnered widespread recognition, showing in esteemed publications corresponding to The New York Times, The Guardian, Rolling Stone, The New Yorker, and Vogue, amongst others.

Instagram: @cole_barash

© Cole Barash, Spread from Kayaker, 2025

Misael Hernandez: Thanks for taking the time to speak in the present day, Cole. I need to kick issues off by asking about your early follow. I perceive that your childhood on the East Coast and browsing and snowboarding within the West throughout your adolescent years had a profound impression in your follow, however are you able to share extra in regards to the transition that led you in direction of a profession within the arts? Was there a selected venture or tipping level that led you to pursue the trail of a visible artist?

Cole Barash: Pleasure to be right here, and thanks on your curiosity in creating this interview, Misael. From ages 18- 22, I used to be a snowboard photographer working for Forum Snowboards and Transworld Snowboard Magazine. I basically spent 10 months of the yr chasing snow world wide with a choose few snowboarders on the professional staff. We labored arduous within the mountains to ship pictures for the magazines and the manufacturers’ campaigns. One day, a photograph ran in {a magazine}, and the artwork director determined to crop my picture to an 1/8 of the composition earlier than it went to print. I used to be fairly livid and realized at the moment, at 22, it was time for me to maneuver to NY and proceed to evolve in different points, areas, and mediums. NY humbled me, principally by being surrounded by such proficient friends. Which on the identical time, actually pushed me. For the primary time I used to be capable of see hardcore artists and what it actually seemed prefer to have an artwork follow. I might do studio visits, have conversations, and get my work critiqued by these associates who had critical practices. I turned fully dedicated and obsessive about the
medium of pictures but in addition slowly began to develop into eager about portray, movie, and ultimately sculpture. I spent a yr in Berlin and that actually pushed it as properly. I knew that if I used to be going to make the leap, it might be for the lengthy haul. A life dedication of pushing, failing, refining, researching, experimenting, ever evolving. Never completed.

© Cole Barash, Nightsummit, 2023

Mis: What have been a few of the greatest challenges in leaping from {a magazine} employees photographer centered on motion and thrill to a curious visible artist?

Cole: Basically, after I moved to NY, nobody took me significantly. I had a portfolio of youngsters sporting XL clothes, principally within the snow or surrounding environments. I noticed I wanted to begin fully contemporary, on the backside, and take a critical time frame to go make work. Perhaps the primary time I might make an actual physique of labor was this era in 2014. I went to Iceland for a month with no actual plan, simply crashing on my pal’s sofa within the darkness of January. While I used to be there, I used to be taking a look at a map a bit nearer and located this island, Grimsey. I used to be fascinated by it, with a inhabitants of about 100 folks and it solely being three miles broad. It is situated within the north of the Arctic Circle. I spent two weeks there, making portraits in folks’s properties, attending to know the households, visually deciphering the island, going out on fishing boats and strolling endlessly in circles within the wind-battered fields. Thinking however not overthinking, simply reacting and recording. I ultimately got here again that summer season for one more two weeks to proceed the work. This turned my first monograph revealed by Silas Finch (2015).

© Cole Barash, Ashram in Sierrias, 2024

Mis: It’s nice to see your work within the exhibition format, however it’s additionally nice to see the photobook as such a obligatory a part of your follow. I’m curious as to what your principal driving issue is when sequencing and crafting a ebook for launch?

Cole: I used to consider the photograph ebook as a closing output of a physique of labor. I feel now I see it as a layer, along with the exhibition layer. Sometimes combining them each and typically preserving the displays separate. I feel I’ve at all times been a fan of photobooks because it felt like the one entry level for me to develop into a collector. Versus shopping for costly or giant items, one generally is a collector of photobooks and have a really particular and distinctive assortment. I do know I worth mine so extremely, as I usually use them as reference or to have a brand new expertise with a physique of labor every time I take a go.

© Cole Barash, Spread from Stiya, 2016, revealed by Deadbeat Club

Mis: Your work, particularly your latest work, covers themes of the panorama and its relation to folks and the best way they work together. Why are these themes so necessary to you?

Cole: The human race and our relationship to the pure world does fascinate me. I consider partly as a result of we appear to be shifting additional and additional away from it through time in our transports, hours daily on our telephones and screens, and fewer and fewer time and communication with the pure world; it appears to be changing into distant fairly shortly. As in comparison with even 10 or 20 years in the past. I’m eager about when and the way we work together, the place are the variations? Where are the patterns? What and the place are the teachings, and why are they there? I’m within the communication between each of our worlds, not simply visually but in addition in supplies, reminiscence, and expertise.

© Cole Barash, Spread from Sound of Dawn, 2021 revealed by Library Man

©Cole Barash, Install picture of Citrus exhibition at Pallas Gallery in San Francisco, 2024 (Spread from Kayaker)

Mis: Do you will have any latest movies, artists, occasions, writings, or experiences that proceed to feed and encourage your exploration into human and nature relationships?

Cole: Nathaniel Dorsky’s quick silent movies have continued to blow my thoughts. I really like how they’re solely accessible to see through screenings. It is such a good looking dedication to the craft. In addition, Andrea Zittel had a textual content I learn a short time in the past that talks about restrictions. Restrictions in her follow, corresponding to house, time, routine, even right down to the restricted clothes, and the way invaluable that may be to be productive. Rather than having open reign. Beyond that, I feel two of my associates proceed to encourage me. Caleb Hahne Quintana, a painter, and his fascination together with his household historical past, the Southwest, and the friction of masculinity and his emotions of smart auroras. Erinn Springer, her dedication to the craft of pictures and the lineage of it, exploring this line of Americana, nostalgia, and true human virtually forgotten connection. Lastly, I’ll say I’ve spent fairly a little bit of time with a superb author from Brazil, Claire Lispector.

The approach she communicates textual content I’ve by no means skilled. It’s so intense; every sentence, I used to be hooked instantly. So unbelievable, alive, and particular.

© Cole Barash, I Close My Eyes to Move, 2023

Mis: I’m excited to speak about your final launch, Kayaker. Which is a beautiful addition to your profession. It is certainly the standout throughout your catalog of books for a lot of unbelievable causes. My favourite is that it easily mends the visible language of your love for dynamic subject material, new blended media installations, and a deep sense of private presence by way of Kirra and a set of familial images. On paper, this can be a difficult ebook to get proper, however you and Claire Hungerford executed it to a tee. Kayaker assessments the boundaries of what a ebook may be. Can you speak extra in regards to the significance of its format and the way it developed between you and
Claire?

Cole: Up till this level in my profession, I had primarily revealed pretty conventional monographs except Stiya. I used to be eager about making extra of an artist ebook for this particular work. Something that felt unconventional by way of imagery, combining images, site-specific documentation, screenshots from a brief movie, set up views, textual content, iPhone photos, movie, digital. Perhaps, one thing the place the by way of line was a bit extra blurred or deeper within the water. Not so surface-level floating. I’ve realized that, in my follow, I’ve completely different outputs, mediums, and experiences, but over the previous few years I’ve come to see that it’s all actually one output. One voice, continued assertion, or a stream of statements/concepts/ideas/objects. To me, that is what retains the hearth lit- into the unknown and Unexpected.

Claire is extremely proficient, very intentional, but additionally not afraid to be unconventional. We talked loads in regards to the sequence, closely in regards to the text- what would it not be? Where would it not land? Why? Everything had a purpose. What the paper can be, the duvet. No picture or picture? The dimension. What did we wish the expertise to be as an object for the viewer, or not less than one to begin with?

© Cole Barash, Spread from Kayaker, 2025

Mis: Let’s shift over to your business and editorial follow. I’ve at all times had a tough time specializing in venture making when out within the discipline. Especially if I’m in a gaggle with duties to summit, cowl miles, fish, etcetera. Is it ever difficult for you in that sense to deal with the image-making means of a fee? The very first thing that involves thoughts is your Hardpack Magazine version from Peru in 2025. How do you keep centered on the trek whereas additionally making certain the work is being performed?

Cole: It may be fairly tough to steadiness, for positive. I feel it’s all about preparation when you’re out in
the wilderness or excessive within the mountains. Not simply gear earlier than a visit however even establishing camp, amassing water, getting all the pieces dialed in earlier than the sunshine is gone. I’d say I principally deal with that and when one thing catches me, I react by documenting that thought and proceed. Sometimes when I’ve a bit extra time, corresponding to setup at camp and have just a few hours earlier than darkish, I’ll focus a bit extra closely on making work. Slowly, virtually meditatively being within the surroundings and listening. That ascent of Mt. Pisco in Peru was fairly an intense one. With by no means being that top within the mountains earlier than, near 19k toes, it was a unique expertise. One that required far more consideration to the bodily half, particularly up excessive.

© Cole Barash, Sand Became the Earliest and Closest Friend of Water, 2025

Mis: I feel most individuals would take into account commissioned and private follow to be two separate issues altogether. But we’re starting to see increasingly of those two sorts of works in the identical dialog when contemplating an artist’s legacy. The retrospective is a good instance of this, the place these two our bodies of labor can merge to create an total expertise. Is that one thing you resonate with as somebody with such an interesting hand within the business discipline? How do the 2 practices inform each other?

Cole: I really was fascinated about this the opposite day. In the previous, I might say I might closely separate the 2. Almost hiding the business work usually, or not less than not making it obvious in lots of the commissioned work I had performed. Mostly as a result of I used to be hesitant to have my identify connected to a model or for it to be in the best way of my actual work I used to be centered on. However, now I agree issues have modified. There are just a few folks whom I actually respect that transfer fairly properly between the 2. I additionally see it now as one fluid push ahead. I get pleasure from lots of the commissioned work I get not simply visually however collaboratively between the stylists or good artistic administrators. It’s very completely different from my follow however in some methods, fully fulfilling. I’ll say some days I’m tremendous burnt and wish a break, which is the place I worth the studio. It’s my sanctuary, the place I write, learn and proceed to discover in my very own world. I feel having boundaries for the 2 on the day-to-day blocks of time is useful for me. However, so far as sharing, I really feel that it’s changing into increasingly fluid for the 2 to dwell in the identical world collectively.

© Cole Barash, For a Time, Then, There Was Silence, 2025

Mis: When I take into account the qualities of a fantastic artist, evolution and threat are crucial to me. When
I take a look at the development of your work, I’m moved by the best way you’ve continued to hit the end line, but in addition transfer it additional for the subsequent race. In more moderen years, you’ve begun to discover materials and presentation. I can inform your installations and UV-printed items on climbing rope and technical materials are the end result of countless trial and error. The outcomes communicate for themselves. How has the exploration of those mediums impacted your visible language as an artist?

Cole: Thank you on your variety phrases. Incredible to listen to that folks really care and may see the by way of traces within the work. I’m typically a workhorse, prefer to put within the rounds, in addition to really feel failures. It makes me really feel alive. I additionally assume curiosity and experimentation are each issues I worth very extremely in my life and follow. Continuing to set the bar increased or to the left or proper retains me , which I suppose retains me pushing ahead. I take a look at a few of the artists which have come earlier than me within the final 100 years, and those I’m most eager about have continued to push previous their labels or consolation zones. I feel persevering with this evolution and experimentation has impacted my visible language in the best way of avoiding the anticipated, which maybe can be boredom. It continues to push my questions, analysis, and increase my very own prospects. It’s saved me hooked on the craft and making issues. I’m full-on obsessed.

© Cole Barash, Install view of Ecosystems, Prairie Gallery, 2023

Mis: Well, Cole, thanks for sitting with me in the present day. Can you share a bit about any upcoming initiatives you’re engaged on? Any books or exhibitions on the horizon we must always maintain an eye fixed out for?

Cole: Thank you, Misael! A real pleasure. Yes, I’ve been working carefully with Paul Sheik at TBW Books, who’s designing a brand new ebook of the work titled When The Wind Blows North, which I’ve been engaged on for the previous six years. It’s to be launched this fall – 2026. Paul is unbelievable, and I really feel actually fortunate to be working with him. The ebook will probably be co-published by TBW and Deadbeat Club. Beyond that, I’ve been making new materials by hand that I’m fairly enthusiastic about. I’ll ultimately be working with pictures on this new materials. I’m hoping to indicate a few of this work in 2027.

Misael Hernandez is a photographer from Springfield, Oregon. His work makes use of documentary, sculpture, and archive approaches to decipher the tradition, faith, and identification of his Mexican heritage and Northwestern American upbringing. These two cultures and the landscapes of the West have had great impacts on his character and creative follow. He now combines handmade adobe brick, sculpture, and traditionally sourced pictures to assemble photographic works that discuss with his sense of identification and its relation to a deep photographic time and cross-cultural shared experiences.

Hernandez acquired his MFA on the University at Buffalo and attained his BA from the University of Oregon. He has exhibited in Oregon and New York, together with Blue Sky Gallery, the Center for Exploratory & Perceptual Arts (CEPA), and University at Buffalo Art Galleries. Selected awards embrace the Career Opportunity Grant awarded by the Oregon Arts Commission, the Film Photo Award Student Project Award, the SUNY Thayer Fellowship, and the Generator Grant, administered by The Buffalo Institute for Contemporary Art (BICA), funded by the Andy Warhol Foundation. Hernandez has participated in residencies on the Center for Photography at Woodstock and Anderson Ranch.

Instagram: @misaelhdzstudio

© Misael Hernandez, Mama, Tablet No.1, 2024

© Misael Hernandez, Map of the Mckenzie River Wilderness, 2025

© Misael Hernandez, Mountain Composition, 2024