Tomas Urbelionis: An Artist Embracing Mystery, Analogue Course of, and Cinematic Storytelling in Pictures

Your work typically delves into themes comparable to id, reminiscence, and vulnerability utilizing long-term conceptual sequence; how do you resolve which private or common query turns into the muse for a brand new mission?

For me, a brand new mission often begins with an concept that begins to develop in my thoughts. I could begin occupied with a sure query, feeling, scenario, or one thing about human nature that I discover fascinating. I often must really feel that there’s something beneath the picture that’s price exploring. Most of the time, the concept comes first and the pictures come later. I then begin on the lookout for methods to precise that concept visually. This is without doubt one of the the explanation why I’m drawn to staged and conceptual images. I’m not serious about merely recording what’s in entrance of me. I need to create one thing that has its personal environment and which means, and that may make the viewer really feel or take into consideration one thing. But typically the method occurs within the reverse manner. I can instantly see a specific picture, individual, place, or scenario, and that picture stays in my thoughts. It can turn into the start of a very new thought and even a whole sequence. In these moments, I observe my instinct and begin asking myself why that individual picture affected me and what could be behind it. I do not all the time know the place a mission will lead once I start. Sometimes the which means turns into clearer solely by way of the method of photographing. For me, this is a crucial a part of creating — permitting the unique thought to develop and alter moderately than attempting to regulate every part from the start. Ultimately, I need my images to be greater than stunning photos. Beauty is necessary, however for me it isn’t the principle objective. I need a {photograph} to have one thing to say — whether or not it’s by way of an idea, an environment, an emotion, or just a query that is still within the viewer’s thoughts.

As somebody deeply dedicated to analogue images and hand-crafted silver gelatin prints, what’s it in regards to the tactile, bodily course of that the majority nourishes your creativity and creative imaginative and prescient?

I primarily select to {photograph} on movie as a result of the picture created on movie merely feels rather more pure and significant to me. A digital picture can typically really feel chilly, sterile, and in some way unreal. Even once I see an excellent {photograph} made digitally, I typically discover myself considering that I’d in all probability prefer it rather more if it had been shot on movie. I really like the grain, texture, and slight imperfections of movie. I do not just like the sterile perfection that digital images can produce. Film offers the picture one thing much less predictable and, to me, extra human. Especially right now, when synthetic intelligence can create extremely practical photos, this distinction has turn into much more necessary to me. Some digital photos can look virtually like computer-generated photos — technically excellent, however in some way missing a bodily and human feeling. Film offers me a very totally different sensation. I really feel this significantly strongly once I see giant photographic prints in an exhibition. When {a photograph} is half a metre broad or bigger, the grain and bodily texture of the movie turn into a part of the expertise. The {photograph} turns into one thing bodily moderately than merely a picture on a display. Colour can also be essential to me. I labored as a photojournalist for 3 years and photographed with many various digital cameras. Each digital camera rendered colors otherwise, and naturally colors could be extensively adjusted in post-production. But for my eyes, neither Photoshop nor another software program can reproduce what movie offers me. I merely desire the colors of movie. Even outdated movies shot on movie have a visible high quality that I discover extra stunning. This connects instantly with one in every of my very own objectives as a photographer: I need my images to really feel like frames from a very good, fascinating, stunning, unusual, or mysterious movie. I really feel one thing comparable about silver gelatin prints. I really like working with real photographic paper constructed from paper, gelatin, and silver, with out artificial supplies. There is one thing essential to me in regards to the bodily sensation of the paper itself. When I maintain {a photograph} in my arms, I need it to really feel like an actual photographic object, not like an artificial floor. I used to have a substantial quantity of real silver gelatin paper and actually loved making prints myself. I’ve bought a lot of it through the years, and solely a restricted quantity stays. In current years I’ve been printing a lot much less due to severe again issues, which has made the remaining prints much more treasured to me. They remind me of a bodily photographic course of that has turn into rather more tough for me to do recurrently. Ultimately, I feel that this bodily relationship with images is what nourishes my creativity most. For me, images just isn’t solely in regards to the picture itself, but additionally about how that picture exists bodily — its grain, texture, color, paper, and even its imperfections. All of this stuff create a sense that, in my eyes, a purely digital picture can by no means absolutely reproduce.

Much of your images feels cinematic, with wealthy environment and emotional nuance; are you able to stroll us by way of your strategy of developing a scene, from preliminary idea to ultimate print?

Usually, every part begins with an concept that seems in my thoughts. Sometimes I have already got a really clear picture of how I need the ultimate {photograph} to look. I then attempt to construct the scene round that concept, taking note of each element — the individual, their options, clothes, the placement, the encircling setting, the composition, and the sunshine. I typically use pure gentle as a result of I like the best way it interacts with the setting and retains the picture feeling pure. For the sequence “Something Happened”, nevertheless, I typically used flash, with the sunshine falling instantly onto the topic, which created a really totally different environment. At the identical time, not every part is deliberate. Some of my images come from spontaneous or semi-spontaneous conditions. One {photograph} I made in London is an efficient instance. At the time, I had a buddy who was learning trend design. She had many fascinating garments, and she or he was additionally very photogenic. We had deliberate to go and {photograph} in an deserted bar, however once I arrived in her neighbourhood, she instantly messaged me saying that she didn’t need to {photograph} anymore. She had been out the evening earlier than, was feeling unwell, and was additionally sad with the best way her fringe had been reduce. I had already travelled throughout London to fulfill her, so I used to be pissed off. I prompt that we might make it very fast: there have been solely three frames left on my roll of movie, I’d {photograph} her with out displaying her face, and we’d keep very near her house. She agreed. While strolling in direction of her, I began on the lookout for an fascinating location and, by probability, discovered an excellent one virtually subsequent to her home. The complete shoot lasted maybe 5 minutes. I took only some images, and one in every of them turned out to be significantly profitable. In 2011, that {photograph} gained the style images competitors “Madamarfozės” in Lithuania. This can also be an instance of why I do not assume images ought to all the time be utterly managed. I often attempt to consider each centimetre of the body, however typically an surprising scenario results in one thing higher than what I initially imagined. There are additionally instances when I’ve the whole body in my head earlier than the shoot — I can virtually see the {photograph} already. But once I later scan the movie and have a look at the pictures on the pc, I could uncover {that a} totally different composition works a lot better than the one I had imagined beforehand. I’m fairly open to that. The {photograph} can educate me one thing that I couldn’t see earlier than I made it. I feel this stability between intention and instinct is essential in my work. I want the preliminary thought, however I additionally want to go away sufficient area for one thing surprising to occur. And I actually admire that you simply describe my images as cinematic, atmospheric, and emotionally nuanced. That is definitely very near what I’m attempting to attain. I need my images to really feel like frames from a very good movie — one thing stunning, unusual, mysterious, or emotionally charged, the place the viewer can sense that there’s a story behind the picture, even when that story is rarely utterly defined.

The symbolism and psychological undertones in your sequence encourage viewers to search out their very own interpretations; how do you stability your individual narrative intentions with the openness that invitations this private engagement?

I feel it will be significant for me to not reveal all my playing cards. I often have my very own thought or narrative behind {a photograph}, however I do not need to clarify every part to the viewer. I like thriller an excessive amount of for that. In a manner, I might virtually name myself “Mystery”. I typically really feel that my complete life is one massive thriller, as a result of there are such a lot of issues that I do not perceive. When I take into consideration the world, the Earth, the universe, and our existence, every part begins to really feel mysterious to me. I feel this sense naturally finds its manner into my images. That is why I do not need my images to have just one doable interpretation. I can provide the viewer sure clues by way of the setting, the individual, the objects, the environment, or the symbolism, however I need to go away some issues unanswered. I need there to be an area the place the viewer can enter with their very own experiences, feelings, and creativeness. And I really find it irresistible when somebody interprets one in every of my images in a manner I by no means anticipated. Sometimes individuals see one thing in a picture that I genuinely by no means observed myself. I do not see that as a fallacious interpretation. On the opposite, I discover it very thrilling. It signifies that the {photograph} has began to exist past my unique intention. For me, the very best images are maybe a bit like fragments of a narrative from a movie. You see a scene, you are feeling that one thing has occurred or is about to occur, however you do not know every part. You are left questioning what occurred earlier than, what’s going to occur subsequent, or what the scene really means. So I feel my function is to create the query moderately than essentially present the reply. I do know what I wished to say once I made the {photograph}, however I do not want the viewer to reach at precisely the identical conclusion. I’d a lot moderately go away them with a sense, a query, or a way of thriller that continues of their thoughts after they’ve walked away.

Being a part of the Lithuanian Photographers’ Association has marked a milestone in your profession; how has your inventive journey been formed by each unbiased experimentation and involvement on this creative group?

To be trustworthy, this query made me smile a bit, as a result of the Lithuanian Photographers’ Association has had virtually no affect on my inventive growth. I’ve been a member since 2012, however I do not take part in its occasions, and I’m not actually a part of a photographers’ group. I’ve some photographer acquaintances, however I hardly ever talk with them. Most of the time, I work utterly by myself. My photographic journey really started in a moderately surprising manner. Before images, I used to be attempting to turn into a basketball participant. I performed basketball critically till I used to be about twenty, however I ultimately had to surrender that path due to well being issues. And, virtually by coincidence, that was the identical 12 months I began images. I bear in mind visiting a buddy and seeing some images she had taken. What caught my consideration was that they had been creative images, not simply the sort of footage individuals often take at weddings, on holidays, or at events. Until then, I had by no means actually considered images in that manner. I requested her if she might lend me her Zenit movie SLR digital camera, and that was the start. From that second on, I largely realized on my own. I experimented, made errors, tried various things, and slowly found what attracted me and what did not. I by no means actually had a specific group of photographers round me telling me what was good or what I needs to be doing. In a manner, I feel that was helpful, as a result of I had the liberty to develop my very own manner of seeing issues. Even my finest buddy has virtually nothing to do with the artwork world. We really spend extra time enjoying NBA in opposition to one another on a sport console. He would not actually like my images — and, to be truthful, artwork basically would not curiosity him very a lot. He is rather more serious about sport. So I positively can’t say that my inventive growth got here from a circle of artist buddies. 🙂 The Lithuanian Photographers’ Association is necessary to me, however largely in knowledgeable sense. Being a member connects me to the historical past {and professional} area of Lithuanian images, and I obtain monetary assist from the Association every year, which I admire. But creatively, I’d be mendacity if I mentioned that the Association formed my work. It did not. Most of what I’ve turn into as a photographer got here from merely persevering with to {photograph} for a few years and following my very own curiosity. I feel I want that independence. I do not actually need to observe traits or match into a specific creative circle. I’d moderately experiment, make my very own errors, and typically uncover one thing unexpectedly. When I give it some thought, there’s something fairly unusual and delightful about the truth that I entered images utterly accidentally, just because I noticed some images that made me have a look at images otherwise, borrowed a Zenit digital camera from a buddy, and began taking footage. And in some way, all these years later, I’m nonetheless strolling alongside that very same path.

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