Brackish River Valley: Eric Kaczmarczyk

Andrew D. McClees (ADM): For those who aren't familiar with you and your work, would you mind introducing yourself?

Eric Kaczmarczyk (EK): Hi, my name is Eric Kaczmarczyk, I'm an artist-photographer living and working in the Lower Hudson Valley region of New York State. My artwork is primarily made within the environment in which I live; whether it be a landscape, a cityscape, a still life, an abstraction, or the occasional portrait. Photography for me is a way to connect with my surroundings and ultimately, a way to process my own psychology. As I continue to explore, film photography has been my medium of choice, in part due to its slowness - developing, scanning, editing, printing -gives me time to sleep on it all.

ADM: We're talking about Brackish River Valley - you open with the words that make the title being defined, and have a brief afterword - could you expound on the concept and impetus for the project?

EK: The photographs I've made over the past several years were without a specific intention or end goal in mind. Before coming up with the final name for the book, I had the word "river" stuck in my head... and I kept thinking, what about river, why river. As I learned more about the area, I came to understand that the Hudson River is brackish; a mixture of salt and freshwater. When the ocean tide rises, the river flows northward; when the ocean tide falls it flows southward - at least in the lower part of the river. In the afterword, I mention that the "mayor was covering everything in concrete" as a way to acknowledge that there were several large scale construction projects going on around this time, erecting residential towers and complexes. Not everything was being covered, in fact, there was some uncovering. There used to be a large parking lot in the center of town which they removed and re-exposed part of the Saw Mill River that was buried underneath years ago. There was still little-to-no grass in the nearby parks, most everything was concrete with a few trees and some flowers.

ADM: I find the photos in Brackish River Valley to be very formally pleasing - is there a particular meaning or throughline in the photos? What was your process for image-making - and following that - you handmade/bound the project - is there extra significance to that handmade approach?

EK: Symbolically - the mixture of salty and fresh water, flowing two different directions, the struggle between concrete and nature and the conflict of old and new - were all on my mind while making this work. Not only did this help me understand the environment that I stepped into, but also helped me understand my internal dialogue. I used to be a very rigid creator, thinking of a concept then illustrating that concept. For me, this left me stuck behind the emotional walls that I've unintentionally built. Through making this work specifically, while undergoing a life transition of my own, I felt the impact of covering things in concrete. I think making this book by hand is relatable back to why I shoot film - it was a slow, intimate process, giving me a lot of time to gain clarity.

ADM: Are there any images that you would point to explain the project to an outsider, or that encapsulate the project best (from your perspective), and why or why not?

EK: I’d say, look at the pair of images where on the left is a light fixture and on the right is a building without a roof. This is one of my favorite uses of metaphor in the book where the light appears to illuminate the roofless building as a symbol for searching and introspection. Additionally, note the presence of a large shadow cast on the hillside, obscuring the view. Also, take a look at both the black-and-white image of the busy road and the color image of the parking garage with water in the foreground. Both of these images depict two examples of where the Saw Mill River was uncovered and parks lacking nature were built.

ADM: Recently, I saw you mention on IG that "Brackish River Valley has two more sequels coming next year, what are they about, and how does the book fit into that larger cycle?

EK: Yes! I have two more books planned, with different titles yet to be determined. This first book contains photographs from 2017 and 2018, all made within Yonkers which borders New York City to the north. The next book will contain photographs from 2019, all made between Yonkers and Sleepy Hollow, New York. During this time, I've transitioned to a new location further up the river. And finally, the third book will be photographs from 2020, all made within Tarrytown and Sleepy Hollow. Generally, the further north you go from New York City, the greener the landscape becomes. This may sound obvious to some, but for me, as I break down my emotional barriers, nature has played a major role.

ADM: Do you have a greater overall goal for the cycle of photobooks? does it have a name?

EK: Ever since I relocated to the Lower Hudson Valley several years ago, I’ve been fascinated by the river and the rivertowns. Not pictured in this first book, another geographic feature that caught my attention is the Old Croton Aqueduct which is now a hiking trail spanning 26 miles, running parallel to the river. Previously, the aqueduct provided fresh upstate water to New York City. Aside from the river being a mode of transportation for water and boats, it felt like a place to meditate, transporting thoughts. My overall goal is to document this transportation of thoughts while connecting with the physical environment. There is no name for the overall project yet.

ADM: In terms of influence, what were the major influences on Brackish River Valley, and the cycle at large? they can be photographic, or non-photographic.

EK: Several artists that come to mind are Sophie Calle, Laurie Anderson, Pipilloti Rist and Sol LeWitt. Aside from artist inspiration, one major influence on Brackish River Valley has been weekly talk therapy with a psychologist. I’ve always been an intuitive artist but, through depression and anxiety, this has helped me connect with my photographs in a more direct and conscious way. Another major influence goes back about 10 years, a college professor of mine who encouraged me to go out and make photographs without thinking or planning beforehand. This helped me ward off overthinking and make more room for reflection.

ADM: You've mentioned therapy and mental health - lately I've found a lot of photographers (myself included) use the medium as an outlet for their personal struggles - in your own words, or opinion, what is it about the medium that makes it so intuitive to the topic of mental health or illness?

EK: For me, one thing about photography that makes it such an intuitive medium is within the ephemeral nature of pressing the shutter button. Personally, in regards to my mental health, my ability to process emotions in the moment can be quite difficult, it takes me a while. If I make work with this in mind, and relinquish some control, this leaves a lot of room for the subconscious to do its work. Letting my mind wander and letting my intuition tell me what to make a picture of. In this state of mind, I feel that it's easier to simultaneously experience the moment and also make the picture, processing the emotions later on.

ADM: What does the Photobook format mean to you, and do you find it to be substantially different from the zine?

EK: I always found photobooks to be a great way to hold art in your hands and feel what the artist might’ve been feeling. Truthfully, I wasn’t fully certain whether to call this project a photobook, a zine or a chapbook… to me, it’s a type of hybrid between a photobook and a zine. I did want an intimate smaller book, and in a several book series, like a zine. I don’t find the various formats to be substantially different; they are all books and serve the same purpose of communicating artistic expression.

ADM: What advice or insight would you give to someone looking to contextualize their mental health or findings in therapy through photography?

EK: My best advice would be to not restrict yourself into one style, one theme, one type of photography. Having gone to art school, often, I felt that you can be pushed into overly developing a style in order to fit into a niche within the industry. In regards to mental health, and art, this can be quite suppressive. If you’re only photographing one subject matter, in one way, it will not be possible to access the far reaching complexities of one’s psychology. My second piece of advice would be to never stop asking questions to yourself; reflect, analyze the symbols, analyze the colors. Unrelated to my book, in college, I made gross food combinations, placed them on the sidewalk, asked four people to stand around, then photograph the scene from the knees down. About 10 years later, I realized it was a sort of rebellion to the superficial environment I was raised in, where food and appearance were the most important thing, more important than feelings.

ADM: From Al Palmer: What was the biggest single turning point for you as an artist?

EK: At first thought, I began to scan my recent achievements, my technical upgrades, my emotional freedom… even with some of this feeling like they’re big steps, it still feels more like a long term progression. Therefore, I’d have to say, the biggest turning point for me is not recent; it was as a teenager, the purchase of my first camera. It was my first major coping tool. I was able to navigate my world, soothing anxieties, the usual “hiding behind the camera” perspective. I tried expressing myself through drawing and painting but, I felt more clarity while looking through a lens. Personally, this is the most important to me because I discovered that I could communicate in ways that I could not with words.

ADM: What question do you have for the next photographer? You can answer it yourself if you'd like.

EK: What does a day in the life as a photographer, as an artist, as a person, look like for you? What time do you wake up, go to sleep? Outside of photography, what are some of your favorite hobbies?

ADM: Where can people purchase a copy of Brackish River Valley? I saw that you'd sold through your initial batch (congratulations!) will you have another pressing for sale alongside the next books in the cycle? Do you have any other parting words? -- Thanks again for the interview!

EK: Fortunately and unfortunately, the book is sold out! The next books in the cycle will be a continuation of similar subject and format and a good chance to pick up a copy. At the end of the cycle, I am hoping to put the several books together into one larger, hardcover book… but we will see! In the future, I may consider a second edition, but will not be handmade like the first edition. Lastly, for those who liked the book, or who missed the book, I am releasing a batch of images from the book as special edition prints that will be going up for sale soon. My only other parting words are a big thank you to frozenwaste.land for offering to interview me and to all my friends and colleagues who’ve shown invaluable support throughout this process.

Weaknesses : Andy Pham

Andrew D. McClees (ADM): For those who are not familiar, could you introduce yourself and your work?

Andy Pham (AP): I’m a photographer and writer. I’ve spent most of my life in the New Orleans area, but also lived in Europe (Czech Republic) for three years, which was a really formative experience for me and kind of changed my life in many ways. I’ve been back in America for the past few years, and have been making work that on one hand, is constantly changing, perhaps stylistically, but on the other, is more or less rooted in the same general themes, personal emotions and instincts.

ADM: We're talking about your series in progress, “Weaknesses” - which, per your description on your webpage is a "long-term, ongoing work in progress examines human weakness and fragility, particularly in the form of mental illness, and the various ways in which it can be represented through the perception of our surroundings." Could you share what the inspiration was for the project, and what the end goal for it would be?

AP: The project “Weaknesses” is the most personal work I’ve been making. It’s mainly a response to my own experience with mental illness, as well as that of some of the people close to me. It’s been a years-long endeavor, in part because as I learn more about my own mental and psychological conditions and attempt to piece together who I am, who I’ve been, who I want to be, etc. and to process my own journey through mental illnesses, I find that the photography I make changes subtly as well.

The end goal would likely be a print publication of some kind, but I don’t have a set timeline in mind. I think it depends on finding the right time and opportunity whenever I’d feel like the work feels like a final product, or at least at a natural stopping point, to work on making and releasing something in print.

ADM: Print is fascinating - Do you think there's a specific character or value that print or a photobook would imbue or enhance "Weaknesses" with - and can you speak on how that format would work with the photographs, or the narrative around “Weaknesses?”

AP: I’ve always seen print/books as the end game for photographs and specifically series of photos or larger projects. As mentioned before, I just really enjoy the tangibility and tactility of these physical objects as opposed to looking at something on a screen. Also I think editing/sequencing and just having the final product in print form adds to the element of spending (more) time with the images in a book versus the more fast paced consumption of images that I think many people are used to with digital consumption.

ADM: So, from that - what final form do you have in mind for “Weaknesses”? a book, or zine - or perhaps an installation of a print series? Are there any particular considerations that you've taken into account while making the images for the project?

AP: I don’t want to tie myself to anything super concrete, as anything can happen really. At this point I’d like to keep it open, but I definitely think something in print and substantial feeling would be a final product I can be proud of.

ADM: Depression and mental illness look different to everyone - what are you looking for when you make your photographs on the topic for this project? Are there any motifs that you find are particularly idiosyncratic to you?

AP: Sure, I respect and certainly understand that mental illness assumes different forms in each unique individual; no two minds are the same. For example, I’ve tried psychotherapy but realized it just wasn’t for me. I tend to work through things more independently, and photography helps me to do that in almost therapeutic ways. You can say that photography is one of my forms of self-therapy. As far as subjects or motifs, I don’t think that I tend to look for specific things that reflect my psychological states. It’s more so the other way around; how I’m feeling or what I’m trying to sort out at any particular moment might dictate or affect what I end up photographing. Sometimes this means that I don’t photograph at all, given the nature of mental illness and how it can really be paralyzing to one’s ability to do anything at all.

I guess if anything, I tend to be drawn more to photograph in places that are perhaps more desolate, or that don’t include a lot of people or any people at all. I don’t ever make portraits at all. I find that the subjects I am drawn to are usually objects or scenes. I probably do have one repeating motif in particular: discarded objects that are left on the ground by people. I find that there is so much mystery in these things that are left behind by someone you’ll probably never know or meet.

ADM: That Definitely tracks with me, and my own experiences. Did you have any particular influence to or on your photographic approach for the project - both on the portrayal of mental illness and your own imagemaking process? These influences can be non-photographic, if that broadens the question for you?

AP: No particular influences really. I think more generally speaking I am probably influenced by photographers who have a very keen eye for detail – smaller, minute things that would go completely unnoticed to the average eye. One photographer in particular who embodies this for me is Phoebe Kiely, whose work was a major influence on me in shifting to primarily black and white, as well as just inspiring me to continue to train my eye to look for those things.

ADM: In addition to your photography, you're also a writer. Do you find there's a natural connection between writing, or words, and photography? If so, how, and if not, why not?

AP: Definitely. At least for me personally, I think there is a connection. I keep multiple notebooks at any given time where I’m constantly writing things down, usually nothing serious or long form, but just kind of a way to keep my mind organized and compartmentalize different things and ideas on paper. The tactility of writing with a pen and paper is always something I’ve enjoyed and even find comfort in. I find the same tactility exists in having a camera in your hands, looking through a viewfinder, pressing the shutter, etc.

Also, I’ve realized that the way I photograph is very instinctive in that I’m almost never having a premeditated idea of what kind of pictures I want to make. When I see a subject I want to capture or a photo that I feel I “need” to make, it’s usually instinctive and instant. With my writing, I think I also write very instinctively and then take a lot more time to edit the text afterward. Having an opportunity to write about photography and photobooks and contribute to a platform (C4 Journal) is great because it’s something I am passionate about anyway, which makes the ideas and words come out a lot more easily.

ADM: When analyzing or writing on photobooks, you mention an instinctual approach - what do you find yourself drawn to writing on in the book format, and does it mirror your approach or focus in the images themselves? Or, do you find that as a writer or critic your concerns are much different than your focuses are in your photographs?

AP: There is definitely an overlap, at least for me. I’ve found that the books I write about, or work that I am interested in writing about, often deal with human emotions in some way. In this sense I feel like my interests naturally gravitate more to that general area. I’m interested in work that is influenced by or speaks on the emotional, psychological, and sociological aspects of existence, I suppose.

ADM: In "Weaknesses" - is there a particular image or sequence within the project that you'd present alone to explain it to someone else? Why that specific image - I know you've mentioned the discarded random items and abandoned places - but is there anything hyperspecific?

AP: It might be, as of now, one particular image which was a result of a lot of manipulation, both accidental and intentional. It started with a color film photograph that I messed up the processing for and couldn’t get the colors right with, so I made it black & white and then through some printing errors, the image became sort of split and cropped; in the end I ended up with a final image that I really like. I think the balance of mishaps and intention are a good reflection of mental and emotional states, where as humans we’re always in this state of flux between our past, present and future selves, and trying to figure out how to deal with trauma, triggers, etc. There is some symbolic imagery within the picture itself as well: the shape of a cross, a sign with the inside missing, a hanging wire, which can be interpreted by the viewer in different or more personal ways.

(Ed Note: The second image presented in the article)

ADM: As someone who writes about, and likely thinks a lot about photobooks - what do you think the key, defining features are of the medium or art object, and do you find yourself seeking them out in your work?

AP: I think editing and sequencing is crucial. Having an edit and sequence that fits whatever you’re trying to communicate with the pictures. This might not be explicit or obvious to anyone viewing the book, but it should at least make sense and feel right to the maker, I’ve definitely tried forcing pictures together into a sequence in the past that just didn’t feel right (to me), and that’s when I knew I had to scrap the work or at least come back to it much later. Also, design is important in that many books nowadays have a very copy and paste kind of aesthetic – essentially just pictures in the middle of paper with white space around them. I like books that feel special in some kind of way I guess. Finally, I think the work should be thought provoking and lead the viewer to think about, question, or at least spend some more time outside of simply looking at the pictures; the best photobooks to me catalyze some form of questioning of perspectives or a wider discussion of a topic, viewpoint, etc.

ADM: What advice would you give to someone working on a project about mental health or mental illness? Is there anything that you've learned while working or continuing to work on "Weakness" that you'd like to share?

AP: I guess I’d say that one’s personal mental health always comes first, and shouldn’t be compromised for the sake of creative work or output. Like I mentioned before, some days are just brutal and the last thing I feel able to do is pick up a camera or think about anything related to photography. I think it’s healthy to just listen to your mind and body first and foremost, and don’t force anything.

ADM: From Erin Cross: If there is a single photo story that you can work on in your lifetime, what would that be and how would you create your images for it?

AP: This is a tough one, I’ve never really thought about it before. I think maybe I’d like to document Vietnam, where my parents are from, in a way that is unique or meaningful to me, whatever that might be. I’ve only been there once when younger and didn’t have a full fledged interest in photography, so I’d probably like to go back and spend time photographing there.

ADM: What question do you have for the next photographer? (You can answer it yourself if you'd like.)

AP: Do you think there is any value in the “hierarchy” of the photo world, or art world in general, in terms of the division between “gallery artists”, big publishers, etc. and the rest of us trying to just make work that means something personally? In other words, do you think there are pros and cons to both, or do you think there is anything lacking on either side of this divide?

ADM: Thanks so much for the interview! Where can we see more of your work? both photographic and written. Do you have any other parting words or notes?

AP: Thank you for having me! My work can be viewed on my website: subtropicaltrash.biz, or Instagram: @subtropical_trash. Some of my recent writing can be found on c4journal.com with more to come, or follow them @c4journal on Instagram.

Take care of yourselves and others and just do the best you can; it’s all any of us can strive for.