Tell us a bit about yourself and your photography?
I am a 19-year-old student of photography here in Brighton. I really wanted to study photography abroad and then suddenly my wish came true. In 2010, I printed the ‘Honeymoon’ book that is one of the most successful things that I’ve ever done. The book was presented last year at Paris Photo and then sold into numerous collections in London, Tokyo, somewhere in Colorado… After that I was sure that I don’t want to do anything else than photography. In Slovenia, where I am from, we only have smaller photography courses mostly commercially oriented. So I applied to 5 different courses in the UK and sent them pictures from the book. I was accepted on all five so I picked Brighton and moved.
Your series ‘Honeymoon’ is made up of photographs where individuals have been cut out of the images, leaving a white space in their place. What is this series about?
Initially, this project started as, I thought, a charming gesture for my parents. This was the first time that my family had been on a substantial trip abroad; my parents had not even had a honeymoon. With this in mind I decided to give them one. I used my father’s film camera, which he would have probably used if he had been on his real honeymoon trip. I cut myself and my brother out of the photographs, as we would not have been born yet.
The series hopefully becomes a simulation that questions the medium itself and also the basic function of the photographic camera that is to eternalize a memory. Digital photography is now cheaper than ever. Everything is worth documenting. In the flood of imagery memories are more fragile; it became harder to pertain a certain memory to an image of an event. But on the other hand, film stills have the same power of representing something nostalgic, even if it didn’t happen. They are something known and common, but white silhouettes suggest that the whole project is simulated.
How would you describe your style of photography?
I would say that so far I have not developed a photographic style and I am not planning to in the near future either. In the last three projects I was more interested in fiction. But still, with every series of photographs I have a different idea and a different approach. Maybe that can be my photographic style?
I like to think that the most important thing in photography is a unique idea or a concept. I modify and choose my medium of making (it can be an old film camera, a webcam or some found images) with the concept in my mind. Before I have an idea in my head or on paper I will never even touch my camera. It is weird because most of my friends work the other way around (pictures first and then the idea). I tried to work like that too, but everything was so pretentious and sadly average.
Are you working on any projects at the moment?
At the moment I am in a thinking process for a new project that questions our perception of religion, nudity and other heavy themes. I have a few funny ideas about cultural relativism for now but I have to figure out how to make things work together as a project. I am planning to use a medium format camera and found imagery but I am still seeking for ways to be original. Other than that, I plan to expand my projects that I made for my course and give them more time to grow. We have to submit four projects in eight months for the university, which is sometimes hard to do. I am also planning to collaborate with two of my coursemates, just to be ‘photography fit’ through the summer and maybe something bigger comes out later. I am also in discussions about printing my latest project as a ‘zine’.
What is your biggest photographic aspiration/goal?
In a few years I would like to make a decent living from what I am doing now. I would like to continue with my projects, make books, have exhibitions, read about photography, maybe do some assignments, sell a few prints, etc. I would like to continue with that, but in a bigger scale, more constant, and I hope some day, more financially successful.
More of Jure’s work can be found here