“Everything is carefully planned but I always leave some room for accidents. This moments are the best as they take you somewhere beyond the expected and planned before.” – Exclusive interview with Paul Peter photographer.
Could we start with some background information about you? Where you grow up, where you based, how did you get interested in photography?
I was born and grew up Poland. I was lucky/unlucky to experience both, life behind the iron curtain in a communist country in 80s and later on – a boom of capitalism. My interest in photography came quite late, while I was doing service in Polish Army. I smuggled a cheap camera into military barracks and took snaps of my colleagues and my army life. Unfortunately I was caught and all the images, negatives and prints had to be disposed. Because of it I had a lot of trouble there. It was strictly forbidden to take any pictures on military territories. Straight after leaving army I bought better camera and started my journey. So you see, idea of shooting guys was in me from the beginning of this journey.
You archive bad boys and pretty angel faced persons too, which one are you more familiar with?
Angel faced boys could be very bad boys 😉 I do have some personal preferences while cast models and it is not the personality what I am looking for. The ability of movement and skill to control their bodies attracts me. Also, my models are often asked to do things they wouldn’t do normally. Many times I put them into some uncomfortable situations. Once I have planned a series linked to fetishism and slightly provocative imagery. Not many frames I had on my mind came to life. It was simply because models refused to work on them and it is completely understandable. I never force anyone to do anything. Some boys took a challenge and I never forget the moment when one of them asked to put two fingers deeply into his mouth felt visibly so uncomfortable that almost came to tears. It was the moment when this fake, staged situation became ultimately real and authentic. I seek in models this kind of bravery and ability to challenge themselves.
What is the best thing to being a photographer?
They say we value things before we get them or after we lose them. Hardly ever value them while we have them. Before I became serious photographer it always seemed to me a wonderful life to be, occasion to meet many people and work with various creatives. However, the more I am into it the more I value opposite things in life; spend more time close to nature far from crowded places, parities and events. I think it is natural need, my body demands balance.
Does is harder to create, the more series you put out over the years?
I think it is opposite, the more experience you have the easier it gets. I can be inspired anywhere. When I work on a story, ideas for frames come to me even while I queue in a bank.
What inspires you?
Human body and its form is a great inspiration for me. I adore movement. I often visit London’s Sadlers Wells dance theatre which is a massive source of inspiration, excitement and beauty. On one hand I am a fan of controlled movement and on the other; I find beauty in untamed expression of people with mental disorders. Some work of Diane Arbus and Raymond Depardon Manicomio are these which I often refer to.
Seems like you like to mixing structures and try different things. How is your creative process? Imagine and make it work on your own, or with a team?
I use deferent styles and mediums however they are linked together. Over the time, I have realised that there exist some unconscious patterns which I am constantly applying into my work and process. My subject is often presented faceless or is defaced in postproduction process (collage).
Carl Jung claimed that ‘Everything in the unconscious seeks outward manifestation’ and I think my work dissecting the real nature of the inner self. Conscious mind is not only influenced by the unconscious but actually guided by it. The unconscious part stores our fears, violent motives or shameful sexual desires.
My work though is manifestation of unconscious, of my hidden desires. Hidden and often shameful, maybe that is why I often present my subject faceless.
Of course I have different approach if I am commissioned for a work. I try to satisfy both sides with the outcome I produce; myself and the commissioner.
I usually need 2 days to come up with a clear proposal, supported with various visuals, then, if it’s accepted, I draw scenes/frames and potential poses for models and the team involved (sample sketch made before shoot and final image below).
Such approach makes the production more efficient; stylist roughly knows what will be exposed and which garments would work best in a particular scene. Everything is carefully planned but I always leave some room for accidents. This moments are the best as they take you somewhere beyond the expected and planned before.
How important is for you to make more personal projects as (I can imagine Cut/Throat it is) well, not only work for the ‘industry’?
With personal projects you don’t have to mind anyone’s expectations. Full idea is pure and often reflects our inner need. Mapplethorpe once said ‘The whole point of being an artist is to learn about your-self’ and I believe that through personal projects we re-discover ourselves.
It doesn’t mean that personal cannot become commercialised. It happens that personal projects and ideas develop later to wider publicity or even campaigns.
Do you have any special connection with any of your series?
Mentioned above ‘Cut Throat’ is definitely the one. It was a limited edition printed publication. The content explores the materiality of the fashion photograph as an object – which after adopting unconventional, often violent attitude, results in a form impossible to recreate. Into this project I put all me, cumulated all the things which excite and scare me in the same time. It is the most personal and complex project till date. The perversity here is deducted from the control and enjoyment of the power. Printed photographs of male models are treated as a fetish object, some violently ‘humiliated’ and some splattered with my own bodily fluids.
This very limited publication sold out quite quickly however digital version still hangs on my website.
If you could tell your younger self one piece of advice what would it be?
Do what you do and be consistent. I wouldn’t change anything in my journey. It led me to British Fashion Award – New Wave Creatives nomination in 2018 so I guess I did my lesson well.
What do you do when you got time for yourself?
Escape to nature, travel. Love Italy and France, charm of their small villages and exceptional food. Often spend time in art galleries. Not only because of what they exhibit but also because they calm me down. An art gallery is my church.
Please finish the sentences:
Deeply in love with my future husband. Getting married this year.
My favourite body part is hands, I found them beautiful and contradictory; they are a source of pleasure and pain.
My dream is happening now. I live life I want.
Find more: @paulpeterlondon / www.paulpeter.co.uk