Sep

World Photography: The Art of the Neighborhood

by Meredith Mullins on September 12, 2016

Man from Dublin street photography series by Eamonn Doyle. (Image © Eamonn Doyle.)

Untitled, from the i series
© Eamonn Doyle/Courtesy Michael Hoppen Gallery

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Eamonn Doyle’s Dublin Streets

Sometimes the sets and characters of a neighborhood become just a background track for daily life. The peripherals fade from view. Familiar details lose their luster. People pass unseen.

The act of creating through a camera lens can bring a neighborhood back into focus.

That’s exactly what happened when Irish photographer Eamonn Doyle took camera in hand after a 20-year hiatus.

He rediscovered his home turf—capturing the urban landscape of North Dublin within a half-mile radius of his house, often finding his subjects within just 10 meters of his front door.

He stripped scenes to their essence and brought himself—and those who spend time with his photographs—inside the pulse of Parnell and O’Connell streets.

Panel of Eamonn Doyle's exhibit at Rencontres d'Arles, a revelation for world photography. (Image © Meredith Mullins/Exhibit photographs © Eamonn Doyle.)

A reverence for the Parnell Street elders
© Meredith Mullins/Exhibit Photographs © Eamonn Doyle

The result was a trilogy of books (i, ON, and End.) and an exhibit at this year’s Rencontres d’Arles that takes hold of the viewer in an unshakeable way.

No Manifestos

Eamonn Doyle at the Rencontres d'Arles, making a difference in world photography. (Image © Meredith Mullins.)

Eamonn Doyle at the Rencontres d’Arles
© Meredith Mullins

Presenting one of the best shows of the festival, Doyle lands with force on the stage of world photography.

He makes no claims about his images. He doesn’t like labels. The photographs could be called landscapes of the city, fleeting portraits, or a unique form of street photography as seen through only his eyes.

He has no manifesto or intellectual philosophy. He just makes pictures—pictures of passing strangers on their individual journeys.

Welcome to the neighborhood.

The i Series: The Respected Elders

The i series features the local elders—those characters who have worn a familiar path in the neighborhood streets.

Doyle is drawn to solitary figures. He takes this isolation further by working to eliminate what he calls the “visual noise of the streets.” He shoots on Monday mornings, after the street cleaners have removed trash and grime and captures his subjects in the simplest graphics of a setting.

“I shot from above, mostly, and tried to flatten the figures into the pavements and roads,” Eamonn said of the i series. As a result, the subjects often seem weighed down, as if being looked at by the burden of life itself.

Woman with red gloves from Eamonn Doyle's i series, a revelation for world photography. (Image © Eamonn Doyle.)

Untitled, from the i series
© Eamonn Doyle/Courtesy Michael Hoppen Gallery

Their faces are usually turned away, affirming their anonymity—their status as strangers. However, what is not shown is important.

As Eamonn explains, “I want the viewer to look elsewhere, to find cues other than the obvious ones, to look harder and, if need be, to infer the missing faces.”

The viewer must act . . . must notice these usually unnoticed souls—the textures, colors, and style of their clothes; their few cherished possessions; their pace, posture, and gestures—their journey.

Strangers on a Dublin street, from Eamonn Doyle's ON series, a revelation for world photography. (Image © Eamonn Doyle.)

Untitled, from the ON series
© Eamonn Doyle/Courtesy Michael Hoppen Gallery

The ON Series: The Changing Cityscape

The second segment of the trilogy shows a neighborhood changing dramatically in mood and tense. We, as viewers, enter a raw and vibrant present.

Where the elders were flattened into the scene, the ON subjects leap from the photographs in strong black-and-white, low-angled power.

Here, we see the strangers’ faces, movement, energy, and the context of their lives.

Black man from low angle, from Eamonn Doyle's ON series, a revelation for world photography. (Image © Eamonn Doyle.)

Untitled, from the ON series
© Eamonn Doyle/Courtesy Michael Hoppen Gallery

The neighborhood is dynamic, exploding in a multicultural mix of activity. Immigrants from West Africa, China, and Eastern Europe clash with the sharp edges and angles of the city.

And we begin to understand the text that fueled Doyle’s theme for this series.

You must go on, I can’t go on, I’ll go on.
—Samuel Beckett, The Unnameable

The End. Series: The Loop of Life

In the third segment of the trilogy, we see the neighborhood in bits and pieces—a mosaic of lines, forms, textures, and inhabitants—that we somehow know are destined to have impact on each other.

Diptych from Eamonn Doyle's End. series, a revelation for world photography. (Image © Eamonn Doyle.)

Untitled, from the End. series
© Eamonn Doyle/Courtesy Michael Hoppen Gallery

This series is not just a collaboration with fragments of life. It is an artistic collaboration, with Doyle providing the photographic vision, Niall Sweeney providing design and illustration, and David Donohoe replacing the usual city sounds with a haunting, looping electronic track.

Eamonn Doyle exhibit at Rencontres d'Arles, a revelation for world photography. (Image © Meredith Mullins/Exhibit photographs © Eamonn Doyle.)

Strangers in a strange Dublinland
© Meredith Mullins/Exhibit Photographs © Eamonn Doyle

Immersed in the Neighborhood at Rencontres d’Arles

End., as well as i and ON, came together this year in the dramatic installation at the Rencontres d’Arles photography festival in southern France—a revelation for world photography.

For me, the “Oh, I See” moment came as soon as I entered the darkened Espace Van Gogh.

Here, Doyle, Sweeney, and Donohoe have recreated Doyle’s North Dublin neighborhood pulsing with life—an integration of past, present, and future that made the theme of passing time clear on so many different levels.

Visitor at Eamonn Doyle's exhibit at Rencontres d'Arles, a revelation for world photography. (Image © Meredith Mullins. Photographs © Eamonn Doyle.)

Stepping into Dublin streets at the Rencontres d’Arles
© Meredith Mullins/Exhibit Photographs © Eamonn Doyle

The design of the installation transported me to the streets, but I was not as hurried as the photographic subjects. I paused and let the city find its rhythm, much as Doyle must have—picking out the most interesting characters and studying them as they passed by unaware that anyone is watching.

Windows to the streets of Dublin
© Meredith Mullins/Exhibit Photographs © Eamonn Doyle

The physicality and scale of the panels lent themselves to the energy of a city, and the well-placed “windows” in the grids allowed a view beyond that first glimpse of life.

When a connection was made, the eyes of the strangers on the walls were penetrating, following me whichever way I walked.

The whole experience was mesmerizing.

Woman in scarf in Eamonn Doyle's exhibit at the Rencontres d'Arles, a revelation for world photography. (Photo © Meredith Mullins/Exhibit Photo © Eamonn Doyle.)

The eyes of this Dublin stranger follow you long after you leave.
© Meredith Mullins/Exhibit Photograph © Eamonn Doyle

Most of all, I was inspired to reconnect with my own neighborhood—to slow down and take a closer look at the fleeting human drama that is always present—and to say, with the rest of the world, “I’ll go on.”

Visit Eamonn Doyle’s Exhibit in the Espace Van Gogh at the Rencontres d’Arles in Arles, France, until September 25. Find more of Doyle’s work on his website and at the Michael Hoppen Gallery in London.

Find more information on the Rencontres d’Arles here.

Comment on this post below, or inspire insight with your own OIC Moment here.

Meredith Mullins 4 Comments

Ireland/The World's Photography

Aug

Japanese Traditions in Yakushima Photography

by Meredith Mullins on August 1, 2016

Yakushima rainforest showing reverence for nature and Japanese traditions in photography. (Image © Kodo Chijiiwa.)

The primeval rainforest of Japan’s Yakushima Island
© Kodo Chijiiwa

Photographers Show Reverence for Nature, Beauty, and Time

Yakushima is an island in the North Pacific that seems to have its own spirit, its own magic. It is rich in Japanese traditions, as well as exceptional natural beauty—with its lush vegetation, wild coast, ancient trees, and proud mountains.

I had not heard of Yakushima, a UNESCO World Heritage Site, before wandering into a gallery at the famous Rencontres d’Arles—a massive annual photography event in southern France.

Thousands of photographs are presented at this summer festival, from vintage treasures to the trends of tomorrow. But there was something special about the collection of images from a group of Japanese (and Japan-inspired) photographers.

Swirling ocean near Yakushima island, showing Japanese traditions of reverence for nature. (Image © Antonin Borgeaud.)

The powerful forces of nature
© Antonin Borgeaud

The connection to nature was strong. The appreciation of beauty—both everyday and extraordinary—had deep roots. And the energy of earth, water, fire, wind, and sky was palpable.

The humility of the photographers was refreshing, as was their willingness to share the underlying philosophies that influence their work.

They had met through the Yakushima Photography Festival (YPF), a collective of French, American, and Japanese photographers who had all felt the spirit of Yakushima.

Each photographer has his or her own vision of Japan and Japanese traditions.

Meet Kodo, Miho, Antonin, Shizuka, and Satoru.

At the mercy of typhoon winds on Yakushima
© Kodo Chijiiwa

Kodo Chijiiwa

Kodo grew up on Yakushima and knows many of the secrets of its land and sea.

Kodo Chijiiwa
© Meredith Mullins

Living on an island, he also knows the power of typhoons and wanted to photograph the force of the winds on Yakushima.

He tried to stabilize his body and the camera; but, he explained, “The winds could control me as they wanted. So, I decided to express the sensation of my body being tossed around by making double exposures of the land and sea.”

These are photographs of sheer energy. We feel the force of nature.

Miho Suzuki

Simply put, Miho believes in beauty—in appreciating the trivial things in nature and daily life.

Beauty in everyday life
© Miho Suzuki

She was inspired by an excerpt from “Two Poems on the Rose” by Kitahara Hakushu that asked the question: why should we marvel at a single rose bloom?

Miho Suzuki, a photographer from the Yakushima Photography group, showing Japanese traditions and reverence for nature and beauty in her work. (Image © Meredith Mullins.)

Miho Suzuki
© Meredith Mullins

She dedicated her series of photographs to capturing something beautiful each day.

“I have captured the moments that took my breath away in my daily life,” Miho says.

The project is so personal that she doesn’t care if anyone else shares her sense of beauty. The vision is hers alone. These photographs—these memories— bring her happiness.

Antonin Borgeaud

Antonin is a Frenchman and co-founder of the Yakushima Photography Festival. His new series from Yakushima focuses on the lively personalities of the island—the macaques.

Making eye contact with a Yakushima Macaque
© Antonin Borgeaud

Antonin Borgeaud, photographer and co-founder of the Yakushima Photography Festival, focusing on Japanese traditions and reverence for nature. (Image © Meredith Mullins.)

Antonin Borgeaud
© Meredith Mullins

These old-world monkeys inhabit a small part of the island, indifferent to the presence of human visitors.

Antonin looked for the soul of each and presents a series of portraits where we are shown something of their curious personality.

Even though it is not recommended to make eye contact with a macaque (it’s a sign of aggression), the photographs clearly show a connection between subject and photographer.

Shizuka Sato

Shizuka Sato
© Meredith Mullins

Shizuka is sister and godmother to her younger brother Takuto.

She also named him, when her parents asked her to suggest a name. Her music class was studying conductor’s batons (called takuto in Japanese). She liked the sound of the word . . . and so did her parents.

Shizuka went away for a time, and when she returned home, she was surprised to see how quickly Takuto had grown. He was no longer a child. He was a young man.

Young man on bed by Shizuka Sato, showing Japanese traditions, reverence for nature, and passing of time. (Image © Shizuoka Sato.)

A time of transition—vanishing youth
© Shizuka Sato

Her photographs of Takuto tell a story of vanishing time—and deliver a nostalgic message that many things, including youth, are fleeting. The underlying message: Savor the moments.

Satoru Watanabe

Satoru’s stunning photography is born from Japanese traditions and respect for nature. He explains his influences:

“My grandmother was country-bred and prayed to everything. For her, kami-sama (the gods) was not something to seek forgiveness from, nor something that made wishes come true. Kami-sama was invisible, and yet worth folding her hands to.

Photograph of forest by Satoru Watanabe, showing Japanese traditions and reverence for nature. (Image © Satoru Watanabe.)

Kami-sama energy
© Satoru Watanabe

Satoru Watanabe, photographer from Yakushima Photography group who follows Japanese traditions and shows reverence for nature. (Image © Meredith Mullins.)

Satoru Watanabe
© Meredith Mullins

I can still hear her saying ‘Don’t make a wish to the gods. Just pray with folded hands.’

When I take walks in the forest up in the mountains, I believe the energy I felt was the same existence that my grandmother was folding her hands to—the gods in nature.

As I grow older, the frequencies in which I fold my hands increases, but even now, I never make a wish.”

Satoru doesn’t make wishes. He simply portrays the beauty and clarity of life in his photographs.

Bottle on table, a photograph by Satoru Watanabe showing Japanese traditions and reverence for nature. (Image © Satoru Watanabe.)

Reverence for beauty and simplicity
© Satoru Watanabe

Oh, I See

Da.Gasita book of Satoru Watanabe, following Japanese traditions and reverence for nature. (Image © Meredith Mullins.)

Da.gasita. Oh I See.
© Meredith Mullins

One of Satoru’s books is called Da.gasita. This phrase, In the Yonezawa dialect of Japanese, means “Oh I See.” The Japanese use the phrase often in conversation to let people know they have heard what’s being said and acknowledge its importance.

In wandering into the small gallery in Arles of this interesting group of photographers, I heard (and saw) what was being said. Da.gasita.

And my vision of Japanese traditions and my reverence for nature and beauty has been altered forever.

Arigatou Yakushima.

Sun reflection by Satoru Watanabe, showing Japanese traditions and reverence for nature. (Image © Meredith Mullins.)

Earth and sky
© Satoru Watanabe

For more information on the Yakushima Photography Festival, visit here.

For more information on the Rencontres d’Arles, visit here.

Comment on this post below, or inspire insight with your own OIC Moment here.

Meredith Mullins 2 Comments

Cultural Heritage & Traditions/Japan/The World's Photography

Jul

Sweet Dreams of Ice Cream and Primal Rhythms

by Meredith Mullins on July 18, 2016

Ingoma Nshya Drummers in Rwanda, breaking cultural barriers. (Image © Lex Fletcher.)

Conquering Cultural Barriers in Rwanda

An open-air truck bumps along the rutted streets of Butare, Rwanda. The beaming woman in the back broadcasts through a crackling microphone.

Hello. Hello. You are about to experience something new.

Do you want to have a good life?

Do you want your children to grow up healthy?

Sweet dreams. The answer to your prayers.

Ice cream.

If you’re old, it will make you young again.

Come and see the dreams of women.

Ice cream.

It will change your life.

Her words are true. The ice cream in this African town has changed lives.

Rwanda girl tastes ice cream, breaking cultural barriers. (Image courtesy of Liro Films.)

Sweet Dreams: The first taste of ice cream
Courtesy of Liro Films

The first ice cream shop in Rwanda, Inzozi Nziza (translated as “Sweet Dreams”), broke cultural barriers in many ways.

The shop changed lives not just by bringing the first taste of ice cream to Rwanda. It also deeply affected the lives of the cooperative of women who made these sweet dreams come true.

Hope and joy were leading characters in this moving story, documented in a film by siblings Rob and Lisa Fruchtman called “Sweet Dreams.”

Rwanda houses and countryside, a place where cultural barriers must be broken. (Image © Sloot/iStock.)

Rebuilding from the Horror of Genocide

In a country where the burden of the 1994 genocide touches everyone, the need for unity and reconciliation is critical to moving forward.

This need was felt deeply by Rwandan playwright/poet/musician Odile Gakire (“Kiki”) Katese. The country was slowly working through the rebuilding process. But, as Kiki noted, “People are not like roads and buildings. How do you rebuild a human being?”

Map of Rwanda, a country where women are breaking cultural barriers. (Image © bogdanserban.)

To help the healing process, Kiki called on music as a powerful universal force. She formed a drumming troupe—Ingoma Nshya (translated as “New Kingdom”).

She wanted to start a new chapter in Rwanda’s history, a new era. She brought together a group of women and challenged yet another cultural barrier.

Kiki Katese: Challenging cultural barriers. (Image courtesy of Liro Films.)

Kiki Katese: Challenging cultural barriers
Courtesy of Liro Films

Women had been forbidden to even touch the drums in Rwanda. Drumming was exclusively for men. But when Kiki asked why, she was told only that “drums were too heavy for women to carry.” Kiki’s response: “Okay, if it’s only because it’s heavy, let’s see how strong we are.”

The women proved their strength . . . and their ability to move beyond the past. They came from both sides of the genocide—Hutus and Tutsis. Many had lost Tutsi family members, friends and neighbors; and some had Hutu family members imprisoned for their role in the murders.

Rwanda women drummers, breaking cultural barriers. (Image © Lex Fletcher.)

“People have to reconcile with themselves, with happiness, with life,” Kiki suggests. When these women lose themselves in their drums, the past is forgiven. They come together as friends, as a unified rhythm—with obvious joy.

And Then There Was Ice Cream

Drumming began transforming the women’s lives. It gave them purpose . . . and pleasure. But there was more transformation to come.

Kiki believed that when you introduce one new idea, it creates the space for other new ideas. With that guiding philosophy, Kiki then met Alexis Miesen and Jennie Dundas, co-founders of Blue Marble Ice Cream in Brooklyn, New York.

Alexis Miesen and Jennie Dundas, founders of Blue Marble Ice Cream, breaking cultural barriers in Rwanda. (Image courtesy of Liro Films.)

Alexis Miesen and Jennie Dundas, Co-founders of Blue Marble Ice Cream
Courtesy of Liro Films

Kiki explained that she wanted to bring ice cream to Rwanda, and with it, an opportunity for members of the drumming troupe to become active in a small business.

A partnership was formed and the team rose to the challenges. They needed machines and furniture. They needed to find good local sources for milk, fresh fruit, and honey. They needed to learn the basics of business. They needed to select the shop staff from many members of the cooperative. They needed to set salaries and prices so that people in the town could afford this new treat.

Sweet Dreams manager and menu board, breaking cultural barriers in Rwanda. (Image courtesy of Liro Films.)

Building a business one item at a time
Courtesy of Liro Films

The processes were democratic. They even decided as a group the names for the sizes of ice cream—teta (baby) for small and nyshuti (friend) for medium.

The film documents the winding road, filled with obstacles. It culminates with the ultimate joy of success.

A dish of soft serve ice cream in Rwanda, breaking cultural barriers. (Image courtesy of Liro Films.)

A towering treasure
Courtesy of Liro Films

Ice cream arrives in Butare in all its sweet cream, passion fruit, strawberry, and pineapple glory. The curious townspeople overcome their trepidations and taste this new treasure.

“We’ve seen it in the movies, but we never had it in Rwanda before,” says one young man.

“It’s like eating hailstones,” says a more skeptical customer.

“Oh my god, give me more,” says a new fan, immediately falling prey to the velvety taste.

Rwanda drummers in front of Sweet Dreams ice cream shop, breaking cultural barriers. (Image courtesy of Liro Films.)

Opening Day in 2010—still a success six years later
Courtesy of Liro Films

Oh I See: The Path of Possibilities

Six years after the arrival of the new treat in Rwanda, a few more ice cream venues have appeared, but the women’s cooperative is keeping pace with the times. They now sell snacks, pizzas, juices, coffees, and teas to ensure their continued success.

The drumming troupe is performing near and far, with joy and passion.

The film “Sweet Dreams” has won awards and accolades around the world.

The rewards of this new era of breaking cultural barriers go beyond the obvious. The directors shared a moving moment after a screening of the film in Armenia when a woman in the audience stood tall and said, “This film is not just about Rwandan women. It’s about all of us.”

The final “Oh I see” moment comes in a quote from Kiki: “When you believe that something is possible, it’s done already.”

Yes, indeed, Rwanda. Give me more.

Find out more about the film “Sweet Dreams.” View the trailer below.

If video does not display, watch it here.

Find out more about Blue Marble Ice Cream and the nonprofit Hope Shines.

Comment on this post below, or inspire insight with your own OIC Moment here.

Meredith Mullins 2 Comments

Cultural Do's & Taboos/Rwanda

World Views:

Topics

Author Archives: Meredith Mullins

World Photography: The Art of the Neighborhood

Eamonn Doyle’s Dublin Streets

No Manifestos

The i Series: The Respected Elders

The ON Series: The Changing Cityscape

The End. Series: The Loop of Life

Immersed in the Neighborhood at Rencontres d’Arles

Japanese Traditions in Yakushima Photography

Photographers Show Reverence for Nature, Beauty, and Time

Kodo Chijiiwa

Miho Suzuki

Antonin Borgeaud

Shizuka Sato

Satoru Watanabe

Oh, I See

Sweet Dreams of Ice Cream and Primal Rhythms

Conquering Cultural Barriers in Rwanda

Rebuilding from the Horror of Genocide

And Then There Was Ice Cream

Oh I See: The Path of Possibilities