One Image Many Motifs

An Interview with Stephanie Jung

For ages artists are trying to arrest motion, capture the essence of it with due regard to the limitations of their tools at hand. It did receive further impetus with the introduction of photography. Even the very first generation of photographers like Étienne-Jules Marey’s (March 5, 1830 – May 21, 1904), Ottomar Anschütz (May 16, 1846 in Lissa – May 30, 1907), Eadweard Muybridge (April 9, 1830 – May 9, 1904) and Felix Nadar (April 6, 1820 – March 23, 1910) indulged in such passions in their own peculiar ways, often producing some very striking results. This was done even before filmmaking has begun. So far, in this regard, Stephanie Jung followed the footsteps of such illustrious names who went ahead of her. However, in doing so she did not fail to add her own deft touch. In urban landscapes of Berlin and Japan she found stories worth narrating and narrating in her own unique way.

Like any other art form, photography too has evolved in the past two years or so. Relentless experiments with this medium ensured that it ceases to be solely a tool for capturing realistic family portraits and develops into an art form in its own right. Experimental photographs are considered an objet d’art and artists like Michael Wesely find their long exposure images in the prized possession of MoMA. So for the young photographers like Stephanie Jung the key lies in stretching the limits, finding new vistas and exploring those to the fullest, both within and without. So far she used her talent effectively, capturing vivid imageries from life’s various chapters which bodes well for herself but even more importantly for her art. It is important to remember here what Felix Nadar said while summing up his thoughts about the art of photography,

According to Balzac’s theory, all physical bodies are made up entirely of layers of ghostlike images, an infinite number of leaflike skins laid on top of one another. Since Balzac believed man was incapable of making something material from an apparition – that is, creating something from nothing – he concluded that every time someone had his photograph taken, one of the spectral layers was removed from the body and transferred to the photograph. Repeated exposures entailed the unavoidable loss of subsequent ghostly layers, that is, the very essence of life.