Hrair Sarkissian
Hrair Sarkissian is a photographer. Born and raised in Damascus, he earned his foundational training at his father’s photographic studio, where he spent all his childhood vacations and where he worked full-time for twelve years after high school. In 2010, he completed a BFA in Photography at the Gerrit Rietveld Academie, Amsterdam. He lives and works in London since 2011. He uses photography as a way to tell stories that are not immediately visible on the surface. Employing traditional documentary techniques and using a 4×5 analogue camera, his photographic series consist of austere, large-scale images. Photography is his tool to search for answers related to his personal memories and background, and he uses this subjectivity as a way to navigate larger stories that official histories are unable or unwilling to tell. Hrair tries to engage the viewer into a more profound reading of what lies behind the surface of the image, thereby re-evaluating larger historical or social narratives. Once people become aware of the invisible elements behind his work, the physicality of the image is almost destroyed.
Hrair Sarkissian je fotograf. Rodil se je v Damasku, tam je tudi odraščal, osnovno izobraževanje o fotografiji je prejel v fotografskem studiu svojega očeta, kjer je preživel vse počitnice v otroštvu in kjer je bil po končani srednji šoli tudi polno zaposlen 12 let. Leta 2010 je dokončal dodiplomski študij fotografije na Gerrit Rietveld Academie, v Amsterdamu. Od leta 2011 živi in dela v Londonu. Fotografijo uporablja za pripovedovanje zgodb, ki niso takoj vidne na površju. Uporablja tradicionalne dokumentarne tehnike in analogno 4×5 kamero. Njegove fotografske serije so sestavljene iz ostrih fotografij velikega formata. Fotografija je Hrairovo orodje za iskanje odgovorov, ki so povezani z njegovimi osebnimi spomini in poreklom, to subjektivnost pa nato uporablja za navigacijo večjih zgodb, ki jih uradne zgodovine ne morejo ali nočejo povedati. Gledalca poskuša vključiti v bolj poglobljen vpogled v to, kar se skriva pod površino posnetka in k prevrednotenju širše zgodovinske ali družbene zgodbe. Ko se ljudje enkrat zavedo nevidnih elementov v njegovem delu, je materialni del slike skoraj uničen.
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