Noel Rodo-Vankeulen
Noel Rodo-Vankeulen (b. 1982) is a Canadian photographer and writer based in Brampton, Ontario. His photographic and new media work has been included in exhibitions within Canada, the US and abroad, and resides in numerous private collections. Noel is also the author of the We Can’t Paint Network which includes a blog and magazine, Wassenaar.
“Aura” is a body of work which captures through light, shadow and colour, the ephemeral properties, or aura, of my crystal family heirlooms (vases, plates, goblets, etc), some dating back to the early 19th century. While these objects contain sentimental value, and more importantly a historical significance within my own ancestry, I became interested in the ephemeral nature of how light (natural and projected) can be both a signature and transitory mark of an object; what I have come to refer to as its “spectral-character”.
Over the course of producing these photographs the immaterial nature of my subject often became hypnotic, specifically with the length of time spent transfixed in the dark with these illuminations, and I began to observe the subtle differences in their spectrum and luminescence. Turning each glowing crystal object rendered a ghostly array of prismatic colour distinctive of a specific angle. I wondered if this same fascination of intoxicating and ethereal light ever captured the interest of my ancestors, perhaps investing them with the attachment and care to bring such delicate objects across an ocean?
By turning my lens and composing photographic illuminations the projections had in essence revealed a hidden presence that was not simply formal, but somewhat mystically and atmospherically connected. These traces are etched or sometimes “smoked” into each picture, exposing a set of unique descriptors that the objects themselves embody yet somehow mask any real concrete reading of their physicality. The projections are a post-object, where past, presence, and timelessness reign.
FJORD: How do you feel the Internet has affected the way you work? Have you changed the style of work you do or the way you present your work based on the way the Internet has changed how photography functions?
Noel: The Internet hasn’t really changed the way I work or for that matter my style, but it has absolutely changed the business side of my practice. It’s much easier to find my audience and, speaking in terms of international shows, the Internet has opened up numerous opportunities to exhibit outside of Canada – specifically the US.
In terms of how the work is presented and functions, I think it’s a double-edged sword. An online presence allows for a greater amount of people to see your work (an aspect I love), but the catch is that the photographs suffer due to the absence of the print. I often feel as if I’m losing a few exhibitions every year because the screen is a poor emulation of what my work actually looks like and how it should be installed. It’s something which is hard to get accustomed to.
F: How do you gain inspiration for your work? Where do you look for ideas?
N: I could say that I’m into vernacular photography, films, and literature, but really who isn’t? How a body of work starts out is pretty intuitive, that is, it very much builds off the previous work. Sometimes it’s an indirect link, but I try to follow my instincts. I think it’s important to just let it develop naturally yet still remain engaged within its concept.
F: What are your favorite websites?
N: In terms of photography I have a huge list but for the sake of the interview I’ll list my top five (in no particular order):
Horses Think – Authored by the fantastic photographer Ofer Wolberger, he shares his interests in the medium, as well as his obsession with film and music, in a refreshingly casual yet passionate tone. Now and again Ofer has a photograph up for grabs – sadly I never email him fast enough. (http://horsesthink.com)
I Heart Photograph – With a fresh eye and commitment to sharing innovative work, I Heart Photo is a daily read no matter where I am in the morning. Laurel Ptak also draws on much of her posts for material in her curated exhibitions which are equally interesting. (http://iheartphotograph.blogspot.com/)
American Suburb X – While I’m not a big fan of the author’s personal writing, I love the idea of a subjective archive, one that features some of the best video, theory, and interviews which encompass the medium. (http://www.americansuburbx.com)
Humble Arts – Perhaps one of the few foundations truly helping photographers advance their careers without asking for much (if anything) in return. Amani Olu, Jon Feinstein, and their support staff are continuing through their online and offline shows to present the most exciting contemporary work. I always feel indebted to these folks and it seems like it has been my association with Humble which has helped my work the most. (http://humbleartsfoundation.org/)
Photo-Eye – While it’s a bit pricy for their book orders incoming to Canada, Photo-eye’s expansion as an online magazine, gallery, portfolio host, etc, is something approached with great foresight and fluidity – publishers take note! (http://www.photoeye.com/)
Extra: I really enjoy looking at gallery websites. Some are truly awful but there are a few that make you wonder if they could rival the recently popular format of online exhibitions:
303 Gallery - http://www.303gallery.com/
Stuart Shave/Modern Art - http://www.modernart.net
Peres Projects - http://www.peresprojects.com/
F: Where do you see your work going in the next year and in the future in general?
N: I have an ongoing body of work temporarily titled “Into the White” which I’m still deeply rooted in and at the same time looking to polish off. Also, there a few projects which I’ve always been building on and they may or may not ever be publically available.
Recently I’ve taken on a few commissioned/commercial projects even though I still have a bit of apprehension about them. Not only is a very interesting way to support your art, but I think these opportunities are a fantastic way of exploring subject matter you normally wouldn’t touch or let alone think about.
F: Do you have any suggestions to help new and emerging photographers gain exposure? How did you initially start to promote yourself and your work?
N: In truth I never really promote my work other than keeping those interested in my photographs close. Aside from submitting to open calls in the past (none of which to my knowledge have ever led to anything), I’ve been lucky enough to continually meet highly motivated and generous people interested in showing, selling, and promoting my work. Of course these relationships work both ways and I think more artists need to understand that point. What can you do for a gallery, curator, buyer, publisher – or your audience? What I’m getting at here has little to do with money, rather, it’s connected to the idea of collaborating on something engaging. Is this not the reason we became photographers?
So as for submitting, I don’t know. Readers of my blog will know that I’m a bit wary of portfolio reviews which seem to be an odd event exclusive to the medium. I’m always speculative of how a $200 fee (often including extra money for travel and lodging) can translate into a possible future opportunity where you still end up spending money on, for example, framing for a show. The Internet affords us an interesting opportunity where much of everything is equalized and accessible. In fact, with a little bit of hard work you can find both free and substantially better opportunities out there – many of them authored by passionate people not looking to make money. These are the things that truly lead to shows and eventually bring in collectors.
That being said, I think it’s important to find your own way organically and try not to be too obsessed with promotion or a formula for getting work out there. If you feel like portfolio reviews have helped you or that submissions are your thing, stick with it. Just remember that there is nothing worse then an artist shaking your hand while secretly slipping a business card in your pocket.
