ZOE BARRACANO

 

John LeKay: When did you go to Cuba?

Zoë Barracano: I went to Cuba in December 2001 to see the Latin American Film Festival. I was able to attend on a cultural visa from the Cuban Cultural Center.

JL: Did you have a particular theme in mind, in terms of subject matter, of what you were going to shoot?

ZB: I had no plan of what to photograph. On reviewing the collection, I see that I am naturally drawn to subjects of beauty and decay—beautiful buildings or those in gross disrepair. Or in the case of people I am drawn toward the young and old.

JL: What kind of camera do you use, and do you always work outside of a studio?

ZB: I always, always work outside of a studio. I love ambient light. Part of what attracts me to photography is the social adventure of exploring the streets and approaching people I don't know. I'm both shy and outgoing, and I get very nervous and excited about approaching people. For the Cuba trip I used a point-and-shoot digital camera, the Canon Powershot G1. It looks very old and clunky now. I can take photographs without drawing much attention to the camera because the viewfinder is rotatable. I am currently shooting with a Nikon D100, a digital SLR with full manual capabilities. I grew up using a small Rollei and then a fully manual Olympus OM1 that I became very comfortable with. I hope to develop a similar relationship with my Nikon, but we're not there yet.

 

JL: Can you please tell me about the woman with the child and why the little girl was crying?

ZB: My interactions with the subjects are usually very short, and though I don't know why the girl was crying, I do know that tears come and go quite quickly at that age. I was enough of a novelty to her that she stopped crying.

 

JL: Do you always ask for permission to take a photograph, or do you sometimes just click away and then ask permission afterwards?

 ZB: I do whatever I think will work best. If I can get a photograph without asking permission I will, even though I think it's more respectful to ask first. If I want a close photograph, or think the people will leave before I can get the photo, or think they'll be upset, I'll ask first.
 

JL: Were these photographs taken in the same town or in different parts of Cuba?

 ZB: The majority of the photographs were taken inside Havana. We only spent one day traveling by bus outside Havana. I'd like to go back and spend more time and see the rest of the country.
 

JL:. The man leaning up against the blue toilet service wall with the giant cigar is really interesting. Did you ask him to pose, or was he already doing that?
 

ZB: He was standing like that and I took that photograph on the sly.

 

 

JL; Who are some other photographers or artists that you find inspiring, or who have had an influence on your work?

ZB: Photographers whom I like and who have inspired me are: Cindy Sherman—because I went through a self portrait obsession, Annie Liebowitz and Mark Seliger—I love their portraiture, Henri Cartier-Bresson—for his photography on the street and the decisive moment, Robert Capa for his bravery and cleverness, and Alexander Rodchenko for his constructivism and Russian design.

 JL: . Has recent computer technology changed your creative process in any way and do you have a particular method of working?

ZB: Recent technology has made me less careful, more carefree and willing to take risks. It also means I end up with a lot of shots I don't need but don't throw out either. One mixed blessing of my Cuba trip was that I did not have enough flash card space. I didn't bring a computer, so I was forced to edit my photos as I went along. It was very difficult, but it ended up being a good thing.

 

JL: Do you think an artist/photographer has a social or moral responsibility in times of war?

ZB: That's a hard question. Perhaps a war photographer or photojournalist does. I don't feel as though I have to tailor what I do to take a political stance. Maybe I should. I actually don't think about my photos very much at all until people me ask me questions. They begin as purely aesthetic pursuits and I notice patterns that appeal after the fact.

JL: How important is politics in your work?

ZB: Politics is not important in my work, however maybe someone else would view that differently. Perhaps Castro would not like the depiction of decay. There are other photos that I took on the trip that show very severe dilapidation. If I took a job like Capa as a war photographer, that would be a different story altogether.
 

JL: What do you think is the most common underlying theme running through your work?

ZB: At this stage in my work the most common theme is the contrast of beauty and decay, but also the beauty in decay.
 

 

 

JL: Do you prefer the process of shooting or seeing the finished product?

ZB: I love both and I can't decide which I love more. What I love most is taking a photograph and feeling the excitement that it may be a good one.

JL: What are you working on next?

ZB: I am working on deciding on what I'm working on next. I am pretty sure that it will be the same theme, but in a new old location.

 

 

Ms. Barracano has participated in group and solo shows in both Los Angeles and New York, most recently her photos were on exhibit at the Sapphire Lounge in the lower east side. Her photographs have been published in the Los Angeles Times and The New York Sun many of which can be found at www.zoephoto.com. 

Zoë Barracano is bicoastal, maintaining residences in Los Angeles and New York. She is married to horror-film director Rob Schmidt. They have two daughters.