With a sharp eye for obscure objects and sculptural forms, Jonathan LLense’s latest project journeys through the bustling streets and dusty plains of the Indian sub-continent, from Mumbai to Bangalore and Calcutta to Jodhpur. Every mile inspired a thousand photographs, which will eventually arrive in condensed form in a photobook, on course for publication later this year. Here the artist shares a handful of images taken on his phone, serving as a visual archive of the images he took on film.
"I knew I would go to India someday. But this trip was quite spontaneous. I met an Indian photographer via some work I was doing and seized the opportunity as it came my way."
"I love to be on the move. Every day I’d wake up and try to find a strong black coffee before going on a long walk, getting myself completely lost."
"I had some ideas about what I’d encounter but India is so different when you actually visit. It’s so noisy and there are animals absolutely everywhere, both in the countryside and in the heart of the city."
"I use the camera on my phone a lot. Mostly because it’s there, it’s useful, and – obviously – I communicate a lot using images. I must have over 40,000 photographs taken on my phone that I’ve done nothing with yet."
"The images taken on my phone are like notes, notes taken alongside the images I take on my analogue camera. It’s useful to store these as they give an impression of what I might find when the negatives are scanned."
"I arrived at photography via graffiti when a friend showed me the work of Bernd and Hilla Becher, best known for their typological studies of industrial buildings and structures. Retrospectively it’s no surprise that I took to their work so quickly, as sculpture is central in my practice."
"My approach to photography is very intuitive. I learned this intuition over time, and I have developed certain habits of doing and not doing things."
"It’s normal that photographers develop tricks, but it’s always important to question oneself, break the habit, and move on."
Published as part of the featured project:
by Pixy Liao
Fotogalleri Vasli Souza, Malmö, Sweden
“Experimental Relationship started in 2007, a year after we got together. I’ll continue taking images of us as long as we’re still a couple.“
Nicole Acheampong, Editorial Assistant, Aperture Magazine
“The images in Gao Shan’s The Eighth Day cradle an unsettled intimacy. With unblinking yet tender portraits, Shan hoists viewers into urgent proximity to his adoptive mother’s domestic rituals, body, ...
Daria Tuminas, Head of Unseen Book Market
Winner of the Unseen Dummy Award 2019, Moritz Jekat’s photobook Non ya is a portrayal of his newly formed multinational family in Berlin. By stripping away the associations of origin and heritage, eac...
“To date, traces of the Underground Railroad legacy in New York State are rare and selected. Bundles of Wood wishes to address this double standard in the way of preserving the local heritage and at th...“
"To me, Joana Choumali’s canvases are like visual poems, suggesting images more than showing them, making you feel and not only see. “Alba’hian” is a project that speaks directly to the observer’s sub...
Shortlisted for the 2019 Unseen Dummy Award, Ross Sawyer’s project The Future Isn’t What It Used To Be depicts self-made constructions seen through the eyes of the camera. Although deliberately refusi...
Through an extensive video archive – amassed by a global team of some 50 researchers – Anouk Kruithof’s Universal Tongue presents a visual anthropology of online dance footage from the internet age....