Ken Schles photographer

home
about










books
music
portraits
projects
general portfolio












representation

awards
bio
client list
curriculum vitae
get in touch
d/l portfolios
news
reviews
tears

Promised Land: an interview

Detroit," or Kabul or New York. But what is really going on? A tourist in town might have a checklist of sites to see and after viewing them feel they have "been there." Have they? On the face of it I would say absolutely not. And yet, in some way, while dutifully going down that checklist, one might have an experience, some kind of unique, personal experience that fixes in their mind the idea that they know something about a place. What they know is their experience and the relationship that they developed to their experience in combination with whatever other knowledge they have about the place. In total, this gives them a belief they can describe the character of a place. So, in a sense, any experience someone has in a place begins the process of drawing a picture of what that place signifies for him or her. And any experience will do. But are they the right kind of experiences to know the particular character of a place? Who is to tell? This is the paradox. There is no right answer and I will never arrive at some objective truth as to what the "true" character of what Groningen is, or of any place for that matter. I will only have my impressions based on what I saw. What I see depends on thoughts I have at the time interacting with the reality I encounter. People and things exist in a particular time and place and I may notice them-or not. But my experience and the work that results are, by definition, anecdotal, anyone's are. Now, as I am an outsider not from this place, or this continent even, life in Groningen is something of a mystery to me, and you could even say it is exotic to me. On the surface, much is similar to life in other places, but there are many differences. I chose to look at a relatively mundane thing: the comings and goings of people in mostly public spaces-I looked at what they wore and how they interacted as they commuted or shopped-in a word-what they were doing when they were doing nothing. I chose to work in
/ +

this way, because I wanted to strip out the specificity of what people do. I wanted to find out if it was possible to see what lies underneath. I played with transparency and looking through things as a metaphor for the transparency of a place. In the end, I still wonder if seeing is knowing, or if seeing only deepens the mystery of the "other."

MN: How did you experience Groningen and its inhabitants yourself, apart from the assignment? How does it differ from the America you know?

KS: I don't know if I could say what my experience was apart from the assignment, as it is all of a piece. The part when I was taking pictures are different only because I can show you what I saw, give you a visual reference to what I was thinking. I do distinctly remember, at the time, that America was about to invade Iraq. There was a lot of tension in New York around the treat of terrorism. I was quite frustrated with how New York, at least, was shutting down a part of its public aspect. You couldn't continue