Read the complete interview with Bronek Kozka.
Read the complete interview with Bronek Kozka.
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Interview <strong>with</strong> <strong>Bronek</strong> <strong>Kozka</strong> <strong>the</strong> winner of <strong>the</strong> broncolor award 2010<br />
By Chris Anderson<br />
<strong>Bronek</strong> <strong>Kozka</strong> lives and works in Melbourne Australia. <strong>Kozka</strong>'s ongoing involvement is in arts education.<br />
He is a lecturer at <strong>the</strong> Royal Melbourne Institute of Technology (university), lecturing in photography<br />
and portraiture. His commercial photographic practice forms <strong>the</strong> basis for his art practice<br />
and his investigation of <strong>the</strong> portrayal of remembered moments.<br />
<strong>Kozka</strong> has exhibited in several group shows and award/prize shows; <strong>the</strong>se include <strong>the</strong> National<br />
Portrait prizes of both <strong>the</strong> Australian (2007+2009) and UK (2008) Albury Art Prize (highly commended),<br />
SCAP08 (commended) Scap09, Monash Gallery of Art Award (2008+2009) and <strong>the</strong> Hasselblad<br />
Masters Award 2008. <strong>Kozka</strong>'s solo show includes "Picturing Community: Ugunja, Kenya"<br />
(2002), "Auschwitz Revisited" (2005) and "The Best Years of Our Lives" (2009). <strong>Kozka</strong> was also<br />
invited to exhibit a solo show at <strong>the</strong> Grand Prix International de Photographie de Vevey/Switzerland<br />
in September 2010, winning <strong>the</strong> broncolor Award for lighting. Running in <strong>the</strong> same month,<br />
<strong>Kozka</strong>’s work was also shown at <strong>the</strong> Pingyao International Photo Festival in China, at which he<br />
was honoured <strong>with</strong> an award as an international participant.<br />
In 2008 two series of <strong>Kozka</strong>’s work were published in <strong>the</strong> Hasselblad Masters Book Vol.1, <strong>the</strong>y<br />
were “Sunshine House” & “Passion”. In 2010 <strong>Kozka</strong>’s work was featured in <strong>the</strong> Australian publication<br />
(Book), Hijacked: Australian & German Photography.<br />
<strong>Kozka</strong>’s work is held in several private collections in Australia and internationally. He is represented<br />
by Bett Gallery Hobart & MARS Gallery in Melbourne, Australia.<br />
- Are you mainly working in your studio or do you shoot on location as well?<br />
“I have a studio in Melbourne, Australia. The studio environment is very important to me. It is not<br />
only <strong>the</strong> place where I create some of my elaborate scenes but it is also an important creative hub.<br />
I have four o<strong>the</strong>r photographers working from my studio, we are a diverse group whose passion<br />
for art and photography is common.” And <strong>Kozka</strong> continued his explanation:<br />
“Location shooting is very much part of what I do, this is especially true for exhibition work. In<br />
highly lit locations, my photographs become ‘home’ to a cast of actors and models who act out a<br />
series of stories created from storyboards. From a man and woman driving a car, a confrontation<br />
outside a suburban home, a cleaning lady resting in a quiet room, to a woman and her two children<br />
watching TV in a nondescript living room. These stories are assembled from fragments of fi lm<br />
references, o<strong>the</strong>r people’s experiences of spaces <strong>the</strong>y inhabit, and my own memory of spaces I<br />
have inhabited previously.<br />
Through <strong>the</strong>se elaborate tableaux photographs, I am interested in exploring <strong>the</strong> construction of<br />
memory, shared spaces we inhabit as human beings and <strong>the</strong> psychological tensions that can arise<br />
from sharing <strong>the</strong>se spaces. I portray ‘memory’ by playing on <strong>the</strong> ambiguity of fact and fi ction in<br />
our ability to recall a scene or happening. These photographs are a partly truth and partly myth<br />
concept, exploring how memory can confuse, and also assure one’s construct of a story. There is<br />
uncertainty in <strong>the</strong> photographs between whe<strong>the</strong>r it is night or day, dream or reality and fi lmic references<br />
are utilised to create a dark, and at times depraved, construct of <strong>the</strong> shared spaces we<br />
inhabit. So fi nding <strong>the</strong> right location is often <strong>the</strong> key to a successful image.”
- What is <strong>the</strong> most common kind of photographic work you are shooting in your studio?<br />
My work has always been quite varied as I use my art practice as a major part of my folio and new<br />
work is often related (stylistically) to what I am showing in <strong>the</strong> folio. My clients range from graphic<br />
design fi rms and advertising agencies through to certain charity/welfare organisations. Then <strong>the</strong>re<br />
is my art practice and academic side. I actively exhibit through Australian commercial galleries; I’m<br />
also exhibiting in public galleries too. Linked <strong>with</strong> exhibition work is my academic side; I’ve recently<br />
<strong>complete</strong>d a MA (masters), very similar to US MFA (exhibition and exegesis) and will be embarking<br />
on a PhD next year.<br />
- What are <strong>the</strong> typical trends of photography in general in your country? What are <strong>the</strong> trends in<br />
your photographic work?<br />
“Photography is at an interesting cross roads. I guess this is nothing new as <strong>the</strong>re are always new<br />
directions, but I think <strong>the</strong> combination of a changing landscape for <strong>the</strong> industry and new technology<br />
- not just to capture but also for <strong>the</strong> delivery and internationalisation of markets -all means we<br />
are entering a new era. My feeling is <strong>the</strong> photographer of <strong>the</strong> future has to be a visually literate,<br />
and socially aware commentator to an even greater degree than in <strong>the</strong> past.”<br />
- Where do young people get <strong>the</strong> education to become photographers in your country?<br />
“Melbourne is very fortunate to be <strong>the</strong> home of <strong>the</strong> Royal Melbourne Institute of Technology University.<br />
Our Design and Communication School is one of <strong>the</strong> largest in <strong>the</strong> sou<strong>the</strong>rn hemisphere<br />
and is where <strong>the</strong> BA Photography course is located. Lecturers are from commercial, fi ne art and<br />
documentary backgrounds, and <strong>the</strong> course also has a strong academic and <strong>the</strong>oretical element.<br />
There are also Honours, Masters and PhD avenues that can be pursued. I have been lecturing in<br />
this course for 8 or 9 years, over <strong>the</strong> years I have seen <strong>the</strong> course change and develop, responding<br />
to new developments in <strong>the</strong> industry. We also have a very vibrant community of international<br />
students from Europe (several Swiss students over <strong>the</strong> years), Asia and <strong>the</strong> USA.”<br />
- Are you shooting exclusively <strong>with</strong> digital cameras or when would you use analog cameras? Do<br />
you have a favourite camera and lens? If so for what particular reason?<br />
I pretty much exclusively shoot digitally, very occasionally I will shoot 10 x 8 for a personal project.<br />
I shoot a Hasselblad H series camera for ease and versatility. The Hasselblad <strong>with</strong> 50 to 110 zoom<br />
or 120mm lens. I have been shooting <strong>the</strong> Hasselblad since I became a Hasselblad Master in 2008.<br />
I cannot fault this camera, it always delivers and <strong>the</strong> results are very impressive.<br />
- For how many years are you working <strong>with</strong> broncolor lighting?<br />
When I was studying, broncolor was always <strong>the</strong> gold standard, <strong>the</strong> best. It was Hasselblad cameras<br />
and broncolor lighting. Being introduced to broncolor at Uni was great. My shooting requires<br />
many different types of lighting; one shoot will soon be entirely lit <strong>with</strong> huge balloon lights that generally<br />
are used only at major night time road works. But when it comes to fl ash equipment broncolor<br />
has always been my fi rst choice.<br />
Asked why he is using broncolor as his fl ash lighting, <strong>Bronek</strong> <strong>Kozka</strong>’s answer came as quick as a<br />
shot: “The quality.”<br />
- What broncolor equipment is in your possession and what is your favourite light / light shaper?<br />
I use broncolor Mobil units, Grafi t A4s, and sometimes broncolor monolights. Recently I used <strong>the</strong><br />
broncolor Scoro; <strong>the</strong>y are all great !
I use so many different ones for different applications, sometimes it is a large honeycomb, but<br />
sometimes <strong>the</strong> best thing in <strong>the</strong> world is a piece of cardboard and a pair of scissors….every day is<br />
different.<br />
- Where do you see photography in <strong>the</strong> future? Do you have some experience <strong>with</strong> „crossover“ still<br />
to video photography? Could you share some experience <strong>with</strong> our readers?<br />
“Well, <strong>the</strong> equipment we use will change and keep changing, photography is about communicating<br />
ideas that will not change. Photographers need to be fl exible and willing to embrace new methods<br />
and modes of communication.” And <strong>Bronek</strong> <strong>Kozka</strong> continued:<br />
“While video is new and very interesting, and yes I am exploring its possibilities, so much of <strong>the</strong><br />
discussion seems to revolve around <strong>the</strong> technical aspects, <strong>with</strong> little to no discussion about how<br />
to produce a good or great piece of communication. A fantastic still image spread over 24 frames<br />
a second for 30 seconds does not equal a great video. This is something that has been seen in<br />
peoples “home video” for years, a great sunset shot in <strong>the</strong> family album is not so great when it’s a<br />
video that runs for 2 minutes! As photographers, we have <strong>the</strong> ability to capture a <strong>complete</strong> narrative<br />
in 1/60 of a second, video requires that same narrative to unfold over time.”<br />
- Tell us about your next project, please.<br />
“My next project is a series of very large-scale scenes, still playing <strong>with</strong> <strong>the</strong> idea of memory but on<br />
a larger scale, we are more obviously viewers in this new series.”<br />
“Thank your very much for your time and sharing your work <strong>with</strong> our readers.”<br />
<strong>Bronek</strong> <strong>Kozka</strong><br />
The Bakehouse Studio<br />
2/133-135 Johnston Street,<br />
Collingwood, Victoria, 3066<br />
Australia<br />
T: ++61 3 94173456<br />
www.kozka.com