Edvard Munch, the emotional side of my photography

“From the moment of my birth, the angels of anxiety, worry, and death stood at my side, followed me out when I played, followed me in the sun of springtime and in the glories of summer. They stood at my side in the evening when I closed my eyes, and intimidated me with death, hell, and eternal damnation. And I would often wake up at night and stare widely into the room: Am I in Hell?” ― Edvard Munch

When talking about photography, all we can think of is how much others photographers and/or daily photo images influence us (ouch, we live in the poor era of Instagram! If you are not a fan of it, read my article here). But, as for me, along with the influence in my work from all great masters (Daido, Capa, Brassaï, Erwitt, Bresson, Weiss, etc.), I am also passionate about the world of art itself, not only photography. Think of paintings, sculptures, graffiti, music, literature, cinema. Yes, I love all that too. Actually, I am addicted to it. And yes, the great masters of arts have also influenced my work and how I see things.

As I am constantly walking in this world, I still find impressive to bump in some others artists that make shameless art works and say “no, I have no influence at all in my work”. Really? Everything that pass before our eyes become an influence. Whether you want it or not. And I love the fact that everything that we study becomes a major influence and then turn it into our final work. We shape things! Constantly! That’s magnificent!

Today I am telling you about how the great work of Edvard Munch has such emotional power over me. How one single painting can crash us? Yes, absolutely.


I love the vulnerable meaning these 2 works brings to us, so emotional, so much

love and sadness at once. Vampire and another version of The Kiss

Budapest and its singles souls ...

© Fabiolla Loureiro


Expressionism

“I was walking along a path with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.” ― Edvard Munch

The Scream is undoubtedly Munch masterpiece, the painting that put him on top of expressionism movement. The emotional effect that it has provoke emotions, anxiety, moods and ideas. I am not here to analyze his painting as an expert in art. But yet, how his work mirrors in my photography. What one thing has to do with the other?


Emotions

“Without anxiety and illness I should have been like a ship without a rudder.” ― Edvard Munch

What impresses me the most is how we can clearly see how Munch paintings express all that he was living, all of his emotions: fear, despair, love, anxiety, betrayal, jealously. Translation: that is precise what functions in my photography. All that it bears is connected with what I am living. If I am happy, sad, euphoric, anxious, distant, cold, angry, etc. Some people say to me that find my work melancholy, noir, passionate, cold. That’s of course one way of seeing things. Perspectives can be tricky. And sometimes we see what we want to see. But I can assure you that most of my work is filled with an obsessive solitude that I am comfortable with. As I grow older, my work develops into another pace and direction. And that reflects in my photography. Sometimes it takes a longer time to figure it out who we really are in our work. In my case, in my photography. And emotions are part of the process. No matter what kind of person you are, it will be reflected in your artwork. And I like the idea that my public has different point of view of my work. I like to know that for each person has a different meaning, a different story, a different understanding.


“No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.”― Edvard Munch

Edvard Munch (1863 - 1944)



Landscape

Landscape was one of the main themes for Munch. Elements of winter, silence, animals and no souls. Although my favorite subject is purely urban street photography, you will find in my work lots of landscape. Distant lands, mysterious environments, magic black and white, dark forests. When I find myself in that kind of landscape, alone, I feel deeply connected with my most pure self. That kind of atmosphere has a meditative calm and a heavy silence. Lonely travelers, mystical roads, grey skies, lost souls.


Ireland and Northern Ireland cold and lonely landscape

© Fabiolla Loureiro



Different Places

Munch had a lot of influence through his travels. Mainly from Paris and Berlin where he learned from his fellow companions Van Gogh, Lautrec, Gauguin, August Strinberg, Hans Jæger, etc., and also from the bohemian lifestyle. The artistic world was at a very powerful and ferocious development and Munch was a constant part of it. As for me, my street photography is 90% about my travels and 10% about where I live. Should it be different? Not necessarily. Since I was a kid I am fascinated about traveling and other cultures. So, yes, my photography and whatever happens in my life has a huge influence on everything I see and live. The more I travel, the more I change and see things differently and become more found to spend time alone. (another feature that my photography shows a lot often). Sometimes dramatic, showing so many people around the world, among so many others, and yet, lost. Most of the time this is how I read situations and my photography is a way of showing it. The human vulnerability. Am I right? Wrong? There is no rule for it. What I can assure you, as it was for Munch, my work is filled with passionate love. And to be able to bring it to the public, to you, is an absolute bliss.

"I do not believe in the art which is not the compulsive result of man's urge to open his heart." ― Edvard Munch (1863 - 1944)

Documentary I recommend:

Books worth buying:

Munch

Edvard Munch: love and angst


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