Alexa Frangos & Marcia Mahoney @ Perspective Gallery

© Marcia Mahoney

Worry Doll: Alexa Frangos
Infinite Pleasure: Marcia Mahoney
October 4 – 28

Opening Reception: October 6 | 5 -7 PM
Artist Talk: October 18 | 7 PM

“In her series Worry Doll, Frangos is looking to refract her parental anxieties in story pieces that look to early cinema, fairy tales, and Dare Wright’s Lonely Doll books. The street photographs in Mahoney’s collection, Infinite Pleasure, capture the familiarity, beauty and ephemeral pleasure of everyday gesture and light.”

Perspective Gallery
1310-1/2B Chicago Ave.

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TEMA STAUFFER @ Reece Museum at East Tennessee State University

Furgury Shacks, Hudson New York, Fall 2016

TEMA STAUFFER: UPSTATE A Portrait of a Post-industrial City Along the Hudson River
October 24 – December 14, 2018

November 7 – Artist Talk with Tema Stauffer
November 29 – UPSTATE Reception

“Combining poetic landscapes and interiors with portraiture, American fine art photographer Tema Stauffer explores the visually and historically complex community, culture and architecture of one of the oldest regions in America in her beautiful new monograph, UPSTATE (Daylight Books, October 2018). Located on the shores of the upper Hudson River, the city of Hudson was the first American city to be chartered after the American Revolution. Incorporated in 1785 to honor the Dutch explorer Henry Hudson, it developed rapidly as a thriving whaling and merchant seaport. ”

Reece Museum at East Tennessee State University
363 Stout Drive
Johnson City, TN 37614

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Danny Lyon @ Etherton Gallery

Maricopa County, Arizona, 1977

Danny Lyon: The American Southwest and Mexico
Nov. 13, 2018 – Jan.5, 2019

Gallery Reception: 7-10pm, Sat. Nov. 17

“The exhibition will feature photographs from Lyon’s Southwestern Portfolio, which includes photographs of the Sanchez and Jaramillo families in Bernalillo, New Mexico, made between 1967 and 1983, and large format images made in Mexico during a 1973 road trip with the late writer, Harris Dulany. Also on display at the gallery, photographs shown in Lyon’s international traveling retrospective, which opened at the Whitney Museum of American Art in New York in June 2016. ”

Etherton Gallery
135 South 6th Avenue
Tucson, AZ 85701

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William Coupon @ photo-eye Bookstore + Project Space

William Coupon: Portraits
October 26, 2018 through January 5, 2018

“William Coupon: Portraits is a solo exhibition featuring images of notable cultural icons and ethnographic studies dating back to the 1970s by celebrated Santa Fe-based photographer William Coupon. The exhibition corresponds with Coupon’s long-awaited monograph of the same title published earlier this year by Damiani.”

photo-eye Bookstore + Project Space
1300 Rufina Circle, Suite A3
Santa Fe NM, 87507

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Interview with photographer Jim Ferguson

Reconstructed Space 2

F-Stop Magazine: Tell us a bit about your background as a photographer.

Jim Ferguson: I started using the camera at age 7 documenting my family history and taking some photos my 5 year old sister thought were weird. After getting my BFA from San Francisco Art Institute, I focused primarily on landscape photography in the Southwest. I was lucky to be successful from the very start with three galleries representing my work and acquisitions by three major museums and numerous private collections. I received a MFA from the School of the Art Institute of Chicago and while pursuing another career I also continued to photograph in Europe, Asia, Latin America and the United States. In 2017 I re-emerged into the Fine Art World full time, introducing my work again to galleries and museums. My photography has been described as having “a kind of mechanism that disturbs our sense of place and time, leading to a feeling of the uncanny, thinking that we might know these spaces, but cannot ever..”

F-Stop: The current issue of F-Stop Magazine features images from your project “Reconstructed Space”. Can you tell us about this project? What led to this work?

JF: Reconstructed Space is an ongoing series spanning years and continuing to this day. It evolved out of more literal and landscape photography I had done in the past. I set out to create images in a formal way with a strong sense of flatness, compression, form and poetic movement. Much of the work has a disorienting effect similar to what you might feel with Surrealism.

Reconstructed Space 9

F-Stop: What is your process for making these images or your creative process more generally?

JF: I don’t shoot thematic or project based. I do not target any particular subjects. Instead I shoot intuitively reacting to spaces where I can apply my photographic vision which is impacted by my altered sense of depth perception. I approach my photography with a strong graphic intent, an interest in abstraction, a desire to compress spaces, an attraction to capturing tactical surfaces; and I merge as many of these elements as possible into a single image.

F-Stop: Where do you find inspiration for the images you create?

JF: Embedded in my artistic DNA is my aesthetic proclivity towards surrealism, abstract expressionism, minimalism, post-painterly abstraction, and just generally mid-twentieth century modern art. Photography allows me to share the influence of artists from these periods, along with my altered sense of depth perception from being cross-eyed and having corrective surgery at two years old.

Reconstructed Space 7

F-Stop: Are you working on any other projects currently?

JF: I’m currently working on two other projects, my Water series and Unfamiliar Places series concurrent with Reconstructed Space. They can all be viewed on my website at

Water Series- What attracted me to water towers is up close they have a strong presence and obvious strength to the structures because of their utilitarian purpose. Water towers are a part of the landscape seen but ignored by most everyone. My effort is not to document water towers like the Becher photographs. I use them to capture the essence of these structure and transform them into something beyond their original shape and purpose. I focus on their strength, beauty, and graphic qualities rarely seen in these structures.

Unfamiliar Places- I just debuted a new body of work called Unfamiliar Places. The work brings to mind for me the impact of memory, how the span of time from capturing an image to viewing it for the first time impacts the retention of memory. And, how fleeting memories change ones perception of images. In this case for me the images have both a modern feel and ethereal quality. This work came about because of the serendipitous nature of film and its inherent materiality.

For more of Jim Ferguson’s work:

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Michael Koerner @ Catherine Edelman Gallery

Michael Koerner, Waterfalls #6234, 2018

Michael Koerner: My DNA
November 2 – December 22, 2018

OPENING RECEPTION WITH THE ARTIST: Friday, November 2 5:00 – 8:00 pm

“Koerner’s 6 x 8″ tintypes seduce the viewer with glistening deep blacks, metallic silvers, and odd green, yellow and blue hues, to talk about disease. By blowing through a straw, or dripping chemicals from an eyedropper onto tin plates, Koerner manipulates collodian to create sunbursts, explosions, amorphous shapes, and double helixes, all of which reference his family history. In Waterfalls we see vibrant blue chemical drippings, reminiscent of pieces by the 18th c. Japanese artist Katsushika Hokusai; in Phases small balls float across the sky, resembling shooting stars; in Finger Prints, the repetitive imprint of the artists fingertips suggests a medical scan or disease. As he states: ”

“I am the oldest of five brothers. The next born son of my parents lived for only several days. The next son was stillborn and the next was miscarried late in the third trimester. The cause of each of these tragedies was traced to genetic abnormalities. My youngest brother, Richard, eventually succumbed to complications associated with two separate bouts of lymphatic cancer. He lived until he was 32 years of age. There is a tremendous amount of pain and guilt associated with these horrendous endings. It is almost impossible to eliminate or even subdue the feelings that something could have been done differently or avoided. About half of the 80 thousand deaths from the attack on Nagasaki occurred in the first day, while the other half of the deaths occurred from radiation sickness and burns in the following few months. Realistically, the ultimate death toll is at least ten times higher when you approximate the long-term effect of severe, acute exposure to gamma radiation. My mother and each of her four siblings died of rare genetic disorders and/or cancer at ages much younger than the median life expectancy. I remain hyper-vigilant towards my own cancer diagnosis and exhibit my own feelings of survivor’s guilt. These feelings, and family history and experiences, drive my artistic practice.”

Catherine Edelman Gallery, 300 W. Superior Street, Chicago, IL 60654

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Interview with photographer Frank Biringer

Untitled (#tup-x3550)

F-Stop Magazine: Tell us a bit about your background as a photographer.

Frank Biringer: I have been photographing since I was a teenager and inherited a Minolta SRT-101 from my father. Later I documented my early adulthood intensively through snapshots with a point and shoot camera.

But it is first during the last 10 years I have been more serious into the field of photography. At a workshop back in 2008 I was introduced to the history of photography and lens based art. That opened a whole new world for me. Since then I have tried to learn as much as possible about the field through collecting photo books, studying work of renowned photographers and attending international festivals and workshops. I have no formal eduction in photography though.

Later I started a photographic collective together with 3 friends, «photopolet», which has given me the opportunity to develop work and exchange ideas.

F-Stop: The current issue of F-Stop Magazine features images from your project “Tupilak”. Can you tell us about this project? What led to this work?

FB: A couple of years ago I heard about Tupilaks from Greenland. A Tupilak is created by a shaman for the purposes of assassination and revenge. It is a construct built from the body parts of various species. Tupilaks are described in many folk tales in Greenland. Sending a Tupilak is dangerous – if the target turns out to be a more powerful shaman than the sender then the monster can be turned back on it’s creator and harm him or her. No physical examples are known to survive but representations of them exist in the form of drawings, statues and carvings on whalebones.

During walks along the local shore in western Norway I discovered many objects and started to relate these objects to imaginary parts of a Tupilak. I started to collect the mostly organic parts, brought them home and assembled them to installations and objects, giving them a new life that way.

Earlier this year I self-published a hand-bound book of the Tupilak series, limited to 100 numbered copies.

Untitled (#tup-x3708)

F-Stop: What is your process for making these images or your creative process more generally?

FB: I often start with a very loose idea; it can be a song, a book or even a single word. Having this in the back of my mind I start to photograph, collect these, print them, lay them out on the floor, edit, select and sequence them. Then after a while they start to talk to each other; connections are established. From that point on I continue to take new photos and add them to the collection. This process goes in several iterations and usually lasts over a longer period of time. That way something completely different than the original start point can result but the work grows very organic that way.

F-Stop: Where do you find inspiration for the images you create?

FB: I can find inspiration in many things: books, music, films, a good or weird story. Walking, mile for mile, while listening to music is also a great source of inspiration. During longer walks I often get new ideas and can structure thought-fragments. But I never wait for inspiration, patient and focused work over long time is equally important for me in order to achieve the desired results.

F-Stop: What do you hope people feel or maybe learn from these photographs?

FB: I hope I can make the viewer curious, wondering. If looking at my photographs initiates a process in the viewers’ mind and they want to come back to the photographs several times I have succeeded in my task. Maybe my photographs can change thew way they see the world or engage them to learn something new about the world.

Untitled (#tup-x3497)

F-Stop: Do you have a favorite image in this series? If so, which one and why is the image that speaks to you most?

FB: Even if I don’t have a single favorite, I would pick the image of the stone hanging in a thread (#tup-x3497 – see above). It was one of the first images in the series and it illustrates quite well the project idea, giving a simple stone a new meaning through the context is is set in, maybe even with some superficial power. This image has also been published by Der Greif (#9).

F-Stop: Why do you photograph or make art more generally? What compels you to make the images you create?

FB: Being rather introverted, photography is for me a great tool to express thoughts, ideas and to tell stories. In my work I like to emphasize the mundane and overlooked, giving them a new meaning by adding fictive elements and creating narratives.

Untitled (#tup-x3847)

F-Stop: Are you working on any other projects currently?

FB: I have started a couple of new collections recently this year. They are both in a very early phase. One of them is loosely related to music; it started with photos from my Instagram stream where I tag posted pictures with the band and song I’m listening to when I take the photo or when I post it. Not sure how it will develop yet; maybe a story of a fictive road trip with the songs as soundtrack?

The other series started with the word «gap». I did read an interview with Chiharu Shiota. At one place she wrote about «gap years», being away from home after having moved and described how you put beautiful images in your head when you miss home. I could relate to that, having moved from my home country 21 years ago. Somehow the word «gap» stuck with me. I started to look for synonyms and related words, adding them to my notebook. Later I found the term «accidental gap» which comes from linguistics: words that could exist according to grammatical rules but don’t. That way one term or word led to another and formed a setting in my mind. While doing these small researches, finding associations and diversions, I started photographing with these references in the back of my mind. The resulting pictures don’t necessarily have a direct relation to the words and terms but the setting gives the collection a red thread on a subconscious level. That way the collection evolves and starts to grow. I use the same state of mind when editing the resulting images.

Right now I experiment with putting the photos on cardboards (see below), forming structures in order to create a context and relationships between them. This is inspired by editing techniques which I recently learned while attending a Jason Fulford workshop at the International Summer School of Photography  in Latvia. Which by the way was a fantastic experience. The ISSP team has created a wonderful learning environment in Latvia for photographers from allover the world. And Jason was a great teacher with lots of knowledge, introducing us in a playful, yet serious and intense approach to learn more about visual language and context; referencing themes like chance, truth, contradictions, humour and absurdity.

F-Stop: What photographers or other artists inspire you?

There are many photographers whose work I admire. The list is long and changes over time, new ones are added, others fade out. Recently Jason Fulford, Gerry Johansson and Amani Willett were added to the list. What the photographers on my list have in common is that they either tell good stories or that their work makes me wonder, like a riddle and has me going back to it time after time.

For more of Frank Biringer’s work:



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Interview with photographer Leanne Wiggers

人間仙境; Human between Immortal Border

F-Stop Magazine: Tell us a bit about your background as a photographer

Leanne Wiggers: I started getting interested in Photography around the age of fourteen. I would always be the person on vacations or days off to have a camera with me and to photograph things around me. Since I had gotten an interest in it I really wanted to study it in University, so I applied for the BA Photographic Arts at the University of Westminster and graduated this year.

F-Stop: The current issue of F-Stop Magazine features images from your project “Human between Immortal Border”. Can you tell us about this project? What led to this work?

LW: This project is inspired by the traditional Chinese landscape paintings and has been created after a visit to Mt. Huangshan in China. This mountain range, also known as the Yellow Mountains, in China is known as one of the three famous mountains and is known for its view of the “Sea of Clouds”. After my visit, I did more research in the significance of mountains, nature and landscape where I fell upon the saying “Human between Immortal Border” (“人間仙境”) which describes a landscape that is as divine as the realm that borders between mortality and immortality. Between these two divisions, between heaven and earth, mortality and divinity, is the Void. This is also what is concealed or unconcealed within our perception which is considered a revealing of the truth. This description inspired me to create images that represent this saying in the best way and show my perception of this.

人間仙境; Human between Immortal Border

F-Stop: What is your process for making these images or your creative process more generally?

LW: All these images are shot on a digital camera, which I then printed out on normal paper. I played around with these print outs for a while, like cutting them, mixing sections of photos together until I found the idea of overlapping the image. This overlapping I recreated into Photoshop which resulted in these images. However, I wasn’t satisfied with the prints with printing them out because I didn’t feel like they had the right feeling yet, so I asked a company to make the digitals into analogue film and printed them all out in the darkroom on fibre based paper which created the feeling that I wanted. It felt more like a landscape painting instead of a photograph. My creative process generally is similar to what I have done for this project. It always contains lots of experimentation with different mediums until I find the right feeling for a certain project.

F-Stop: Where do you find inspiration for the images you create?

LW: I found my inspiration for this project mostly from looking a Chinese landscape paintings and research about the meaning of nature and mountains in Chinese History and Beliefs. This particular project was inspired by the saying as previously said which comes for the Taoist beliefs

F-Stop: What do you hope people feel or maybe learn from these photographs?

LW: I hope that people will look at the images and feel completely lost in them, like they can look at the images forever. I hope the viewer will find themselves completely lost while looking.

F-Stop: What compels you to make the images you create?

LW: I like exploring new concepts and photography or art is my way of representing my perception of a newly discovered concept. With this I like questioning the viewers perception as well as questioning what truth is. This mostly compels me to create art, to discover new concepts and creating my own interpretation of it. Making my own interpretation makes me feel like I could tell my own opinions/representation of something without saying it, since I am using really bad at talking. So, art is my way of showing pieces of myself to others in the form of creating something new out of discovered concepts.

F-Stop: Are you working on any other projects currently?

LW: I am currently working on expanding this project. I am currently travelling China to visit the other sacred mountains of China and photograph these to expand this series, while working on a similar project which is about the grotto heavens in China. This is inspired by the saying “別有洞天” which is used to describe situations that there is another space behind this space, or another world behind this world. This has inspired to create a book with poems and photographs which is already finished, but I am currently expanding this as well.


For more of Leanne Wiggers’ work:

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Interview with photographer Emmanuel Monzon

Emmanuel Monzon is a french photographer and visual artist based in Seattle, WA. He graduated from the Academy of Beaux-Arts in Paris, France with honors. His work has been featured throughout the US, Europe and Asia. His work is represented by galleries in Europe and Asia, and his work is exhibited widely. I know Monzon’s work, have interviewed him a few years ago, and have followed his projects over that time.

We had the opportunity recently to talk about his portfolio featured in the October portfolio issue. His Urban Sprawl Emptiness portfolio focuses primarily on the idea of urban sprawl and the expansion of its periphery. According to Monzon, he “photographs urban banality as though it were a Romantic painting, trying to be ‘stronger than this big nothing’ in controlling the space by framing the subject.” Monzon’s aesthetic of the banal obeys its own rules: a ban on living objects, a precise geometrical organization, and the revelation of a specific physical and mental landscape blurring the lines between city and suburb, between suburb and countryside, a process that results in an independent identity.

Monzon’s images are often shot at a low perspective with the camera placed on the ground. This approach gives the viewer a fresh take on how we observe the world around us; buildings, cars, even sidewalks take on depth and scale not seen otherwise. This is one of the strengths in Monzon’s work that gives a new perspective at what casual observers of landscape often overlook. He adheres to using a square format for his images, and a rule to never include people in the images; while the influence of people upon the urban spaces is undeniable. The visual irony of the significant impact of people upon their surrounding environment, and their notable absence in his images results in an eerie, surreal tension.

In addition to his signature style in the Urban Sprawl Emptiness work, Monzon creates other related work. “I work on parallel projects, like the night pictures series I produced,” Monzon adds, “with black and white as well as color pictures. There is also a series born from the specific atmosphere created by the light in the early or late hours of the day or by the fog that often surrounds the place where I live. These three series have the suburban streets of American cities in common.”

We discussed his inspirations for the work, and he stated, “What inspires me is the emptiness in the urban landscape or in the great American spaces. I like to mix the two approaches: The codes of the new topographics and the concept of ‘in-between two states’ inspired by the anthropologist Marc Auge. I like these transitional non-places, like intersections or passages from one world to another, such as going from a residential area to an industrial area. I also like the tourist places altered by human influence. We often find this feeling of emptiness, of visual paradox by traveling throughout the United States.”

I asked Monzon about the way this transition is portrayed in his work. He says, “The transition from one site to the next gives the feeling you have arrived, and at the same time you have never left. I believe that the expansion of the urban or industrial landscape in the American natural landscape has redefined this space and has become itself a ‘non-place’.”

Many photographers keep notes about the locations where they shoot, and often include unrelated journal entries. I asked Monzon if he keeps a journal. He replies, “I don’t keep a journal because my approach is dictated by my constant travel around places. I drive, I look around, I stop, I take pictures. And when I am back in my studio, I often have reminiscence of places I have visited and pictures that I have taken that makes me want to go back and explore new territories or angles. My approach is like one of a topographer, I don’t write, I visualize.” This fits with his mantra: “where most people only pass through, I stop and look for some form of poetic beauty. I like repetition, I like series, and I like driving around.”

When we talked about the subject of starting a new series of photos, Monzon says, “If all goes well, I am in the process of planning a road trip of a week in New Mexico to go and visit specific spots I have already identified and selected. I am always working on my next possible trip based on places of interests for me that I want to photograph.”

For more information about Emmanuel Monzon, or to see more of his work, please visit his website.

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Interview with photographer Tatiana Bondareva

Working days in the prison. The boys are going to the utility room to take building materials. They learn to do some construction work in the prison.

F-Stop Magazine: Tell us a bit about your background as a photographer

Tatiana Bondareva: In 2014, my niece Alina turned 2. I realized that we didn’t have any photos of her, and I decided to pick up a camera. I didn’t expect that watching a little girl grow up through the lens of a photo camera would be as engaging. Half a year later I started the Photography program at the British Higher School of Art and Design (2014-2016.)

I am currently studying contemporary photography at “DocDocDoc” (2016-2019.)

All these years I’ve been interested in the theme of the limitations of human freedom, and isolation—both violent and voluntary. My first project was about young women from Nigeria who were brought to Russia against their will and forced to work as prostitutes. Then I shot a story of the incarcerated and their children. Through photos I introduced them to each other’s lives, which they would never see otherwise, as the parents are imprisoned. As a continuation of the theme of freedom, I started a project about Russian dachas seen as a sort of compensatory space necessary in the time of globalization and urbanization. I was interested in small areas—vegetable gardens and dacha lots—that Soviet people got in the 50s to grow vegetables. I was looking for the constructed boundaries that dacha owners put up to hide from the external world by creating one of their own.

Meanwhile, I took part in group exhibitions “New documentary” in Art Play (2015); “Field of vision” in “The Lumiere Brothers Gallery” (2016), “Sprouts” in RuArts Gallery (2016), “Not-random eyewitness” in “Human Rights Houses” in Voronezh (2017) and in Saint-Petersburg (2018), “Young photographers of Russia” in Moscow (2018) and the international competition “Point on the map”. Photo stories were published:,,,,

I still take pictures of my niece Alina, and maybe one day this will become a photo project.

F-Stop: The current issue of F-Stop Magazine features images from your project “Boys”. Can you tell us about this project? What led to this work?

TB: I came to prison for the first time in 2001 as an 18-year-old volunteer from the church. At the time, I wasn’t even thinking about photography. I visited prisons for men and women, juvenile detentions for boys and girls, and closed special schools for teenagers. The juvenile detention where I shot “Boys” I visited twice as a volunteer about 10 years ago. I wanted to go back. When I happened to be there again, they already had a new principal, different rules, and different boys. One thing remained the same—prison schedule. Endless standing in lines and roll calls; the boys move from place to place like a flock of birds. At first glance, they all had the same impenetrable facial expression. The first two times they all ignored me.


F-Stop: What is your process for making these images or your creative process more generally?

TB: Initially, I was interested in capturing the life in prison as a life of some depersonalized flock where everyone behaves like robots. But as I became closer with the boys, I realized that each one of them has his own function and place in this flock.

I decided to observe and not intervene. There was always a prison guard next to me, who would tell me when I could take a picture and when I couldn’t. I tried to detach myself from this situation, but yet still, I even felt that lack of freedom myself.

F-Stop: Do you have a favorite image in this series? If so, which one and why is the image that speaks to you most?

TB: One of my favorite photos is the one where the guys are taking pictures with cats in the museum. Probably, my personal attitude plays a role here. The principal of this detention is a very brave person. Those of the boys who behave well or are soon to be released are taken outside of the prison and to different museums. Even in the “free world” they acted like they were still in prison: stood as if awaiting a roll call, walked in line, and petted animals only after having been offered to. Only in the evening did they start moving more naturally.

The prisoners at the Cat Museum. If the boys behave well they are taken out of the prison to various museums. This is a personal initiative of the director of this prison.

F-Stop: Do you find there is a common idea or topic that you are exploring throughout all the work that you do? What draws you to explore this in your photography?

TB: I saw this place not only as one limiting the freedom, but also as some sort of a new home, where the prisoners adapt to the rules and do things they wouldn’t do otherwise, a place where they live and leave behind their youth. Many of them come from problem families. Here they go through stages in life that they had never experienced. Going to school regularly, attending art sections, visiting church, etc. I was surprised how nervous they were while learning poems before the parents’ day, how they were showing their stuffed toys, bragged about what vegetables they managed to grow, etc. When I just arrived here, I thought I’d be capturing losses and suffering, but now I think that for many people this place is the best, as before their lives were even more difficult. Many of them say that here, at least, they eat regularly. Some of them committed horrible crimes. But I don’t want to pity or judge them. The main problem in the post-prison support in Russia is the absence of guidance. Many of the boys will go back to their dysfunctional families and criminal neighborhoods. Many of them are sentenced for a long time, and as soon as they are released, they are transferred to an adult prison, where all the best that was instilled in them will be lost.

F-Stop: What do you hope people feel or maybe learn from these photographs/ your work?

TB: I want to help to fight the stigma surrounding Russia, and make sure that the government comes up with a program aimed at adaptation of prisoners after their release. I also want people to think about their children and not lose contact with them, especially at the moment when they are becoming adults and want adventures.

F-Stop: Why do you photograph or make art more generally? What compels you to make the images you create?

TB: For me, camera is the connection between me and my heroes. If it weren’t for my camera, I would have no chance to get acquainted with many of them. As they often have difficult life stories, communicating with them turns my consciousness upside down and leaves there something new.

During the liturgy in the Orthodox Church in the prison.

F-Stop: Are you working on any other projects currently?

TB: At the moment, I still continue taking photos for “Boys” in different detention centers, and I’m working on the “Escape” series about Russian dachas. I’m also working on a new project. I’m studying the Red Terror, which was a turning point in Russian history.

F-Stop: What photographers or other artists inspire you?

TB: I am very inspired by Alessandra Sanguinetti, especially his series about two friends, Guille and Belinda. I am also a big fan of deadpan photographers, such as Alec Soth, and Bryan Schutmaat.

For more of Tatiana Bondareva’s work: or

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