10 Questions with Karim Abed

Karim Abed was born in El-Kelâa (Tigzirt), a small village in North Africa. He moved to Ontario, Canada, in 2004, where he has lived ever since. Karim took online courses to deepen his theoretical and technical understanding of photography. Karim thinks that his journey has just started, as the art world is a beautiful place with endless possibilities. His work was displayed at the Prospekto gallery in Lithuania and the Glasgow Gallery of Photography in Scotland. It was also distinguished in TIFA (Tokyo International Foto Awards, BIFA (Budapest International Foto Awards), and Black and White Spider Awards. Karim holds a Bachelor's of Arts Degree from York University, Toronto, Canada, and a Master's Degree from La Sorbonne Nouvelle University, Paris, France.

@polikrom_photography

ARTIST STATEMENT

"My work explores the dynamics of human relations both at the individual and societal levels. Through the photos I take, I examine the impact of modernity on ancient cultures that are fighting for survival. The Amazigh culture, for instance, is on the verge of extinction as a result of years and years of systemic exclusion and neglect. Given this situation, I want to disrupt this narrative by giving the Amazigh culture a voice. The idea of power and how it is used in our day and age is at the center of my current work, too. I consider the process of translating this fluid and abstract concept into images extremely important. Some other areas I work on include discrimination, colonialism, and the vulnerability of individuals. Now and then, I celebrate the beauty of nature but also highlight its fragility. I draw inspiration from many artists such as Magritte, Basquiat, Dali, and many more." 

— Karim Abed

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and how did you start experimenting with images

My name is Karim Abed. I live in Ontario, Canada. I am originally from El-Kelâa, Tigzirt (Algeria). I started taking photos when I was in my twenties. Owning a camera back then was not easy. My first paycheque went into a film camera. I used to take my film rolls for development to a local studio in Tigzirt called Ait-Abdelah owned by a very nice and elegant man who helped us with our photos. After that, I owned multiple digital cameras, which I used when I was traveling. A few years passed, and shortly before the birth of my son, I bought a Canon Rebel T5. With a new APSC camera in hand, I officially started taking photos again and quickly realized that the image quality of the photos I was taking was superior. As I delved a little deeper into technical details, I learned more about lenses, sensors, and colour theory. At night, after I put my son to bed, I would watch video after video about different aspects of photography. Christopher Frost convinced me to upgrade to a Canon 6D, Dustin Abott persuaded me to buy the acclaimed and well-beloved Rokinon 85mm 1.2 XP, and Jared Undone sold me a Canon 70-200 mm 2.8 in person. I started posting my photos on social media. Consequently, people invited me to photograph their weddings and family events. After examining artwork from Brooke Shaden, Erik Johanson, and Chris Knight, to name a few, I started experimenting with the artistic side of photography. I can say that my photography has evolved into an eclectic style. 

How would you define yourself as an artist?

The passage from the mere act of taking photos to seeing my work displayed in galleries was surreal. I never considered myself an artist until after my work was selected and displayed in Prospekto Gallery in Vilnius by the Lithuanian Association of Photographers. I was humbled to see my name appear alongside amazing artists such as Monika Dubinkaité, Nicolas Reinhart, Dephne Van De Velde, Swen Bernittz, Alan Maxwell, Soushi Takaka, Maryna Shatanko, Elena Krukonyté, and Agnieszka Rodowicz. I can honestly say that I am someone who is inspired by previous experiences and by the little steps I take every day to learn about people and things in which I am interested. I am a self-taught photographer who loves playing with images and trying different techniques. Sometimes, ideas come while I am editing an image, while at other times, I plan every step of the image. I became a little skeptical about creating realistic scenes, which I consider somewhat superficial (with due respect for this photographic style). A portrait of someone, although realistic, for instance, in my opinion, should tell a story or at least contain something captivating. I usually add something extra to give my images a specific look and depth. In addition, I value the moments when I take a break from my photography to dedicate my time to learning about art and art styles. I always look for something original and unique to work on. If I encounter a good idea, I enjoy taking the risk of exploring it. I like using familiar techniques but in such a way that the end result is different. I would like to think of myself as an unconventional conceptual photographer because I always infuse some symbolism and a pinch of impressionism and surrealism into my art. 

Can you tell us about the process of creating your work? What is your artistic routine when working?

My routine when working all depends on the situation. I have a sketchbook in which I draw all of my ideas. I find this step very helpful because I can always go back and add more details or tweak my sketches. My current project, “Money”, for instance, started with a vague idea that crossed my mind while I was wrestling with sleep at night. The next day I started a sketch of a mask. But then, my mind went a little farther. I remembered an ancient Berber God called Gurzil and the Greek mythical monster Minotaur. They both looked like a bull. So, I gave the mask a bullhead shape. After I finished the sketch, I noted the props I needed to execute my idea. It is challenging when all conditions are not quickly at hand, like space, natural light, and an appropriate model. The idea may simmer in my head and torture me for days. However, I feel delivered when all the conditions are met. After the image is taken, I usually edit it in Affinity Photo. I like this software because it is like Lightroom and Photoshop combined. First, I make my initial colour and lighting adjustments, and, if I want to tweak the image, I do that later. I use layers to give the image more depth and texture. In other situations, I shoot as I go. I do my best to carry my camera with me wherever I go. For example, I love taking long and multiple exposures of nature and appreciate documenting protests and demonstrations. I usually use black-and-white editing techniques when I document a demonstration.  

How much planning goes into each series of works?

The planning of each series of works depends on the nature of the series or project. Some projects are not planned at all. For instance, in March 2022, I had to go to see my family following the sad passing away of my mother. So, before I got there, I wanted to do a series about Berber tattoos and take some portraits of my nephew, sisters, and cousins. I wrote down the poses I wanted to execute and packed my reflector, tripod, and camera. However, when I got there, I noticed the change people had gone through. It seemed to me that culture was taking a different shape. All the old people and the knowledge holders had disappeared. A new social behaviour was taking place. I couldn’t believe that the culture I grew up in was fading away. I soon realised that I had to ring the alarm bell. My creative drive shifted from documenting Berber tattoos to a much wider project. So, I called my cousins and my sisters. I asked if they had traditional Berber clothes and make-up crayons. When done, I was very happy that the resulting images turned out well. After I finished with the photos, I edited them in my house. That’s how “Cultural Extinction” came to life. On the other hand, the project “Money” that I am working on right now is taking me forever. I started it five months ago. Finding the opportunity to capture some scenes requires time and space. Oddly, the last series, “Leaves”, took me a few days. I have noticed that every project has different technical requirements. Some require natural light; some others need to be executed in a studio setting. The photo “detained and tortured” required a backdrop that I personally made on my mother-in-law’s driveway in the summer. Because props can be very costly, I rely on my creativity to make them. 

How did you develop your style? And how has it evolved over the years?

Developing a style is not easy at all. I am at a stage where I try everything I am learning about and add my own touch at the end. I have noticed that my “style” is evolving and changing. The more I learn, the more techniques I use. I have started experimenting with portraiture. I really admire Lee Jefferies’ style and his philosophy behind the camera. I took a few online courses to expand my knowledge. Sue Bryce, Felix Kunze, and Chris Knight have helped me understand natural vs. studio lighting better. Right after that, I was very happy to see my efforts recognized in international competitions. My passion for conceptual photography has increased. Brooke Shaden has enhanced my knowledge of symbolism and compositing images, and Gemmy Woud-Binnendijk has taught me how to add a painterly touch to my portraits. The award-winning fine art photographer Harold Davis has also given me more ideas. Opportunities to learn and hone my photography skills have come from my day-to-day experiences as well. During a visit to my daughter’s school, I noticed that her teacher uses a tracing box to teach his students about shapes and colours. I spent a few minutes looking at the box. I was so mesmerised that I wanted to build one for myself. In the Fall, after I finished a family session in a forest close to my house, I saw many beautiful leaves lying on the ground. I quickly remembered that a tracing lightbox would do a marvelous job defining the leaves. I thought that, if I put them on top of the box, the light would shine through the leaves. This idea prompted me to buy a very practical tracing lightbox and begin experimenting with the leaves. My learning adventure continues. Who knows what will pop up in my mind tomorrow. 

In your statement, we read that your work “explores the dynamics of human relations both at the individual and societal levels”. What do you hope that the public takes away from your work?

This is a good question. The individual is a social entity or an agent through whom social dynamics are filtered. Social and economic events have an impact on the individual. Happiness is a perfect example. Capturing happiness can be seen in a photo of two people kissing or sharing a moment of tranquility on a beach, for instance. However, demonstrations are a social act. People go out to the streets to express their discontent. I try to capture both. In other words, social dynamics and interactions can be seen at the macro level. Documenting a life of a lonely old man or woman opens a door to questioning how seniors are treated in society. I do believe that this can stimulate people’s curiosity and eagerness to explore loneliness further and maybe discover that the photos they saw are just a few tiny drops in the ocean. Like wildfire, the urging desire to bring change moves from mind to mind until old policies crumble and fall and new ones are made. Another example of this dichotomy is in one of my self-portraits, I expressed how I am personally (individually) affected by what is happening in some countries where innocent citizens are arrested and tortured because they expressed their opinions. An individual can perfectly mirror what affects his community or society. At the same time, topics like discrimination, deculturation, or poverty are social issues. They affect millions of people, and documenting them gives the viewer an opportunity to be aware and, possibly, become an active agent of change or a supporter of change. 

Do you have any artists or role models that influence and inspire your work?

There are many photographers and painters from whom I draw inspiration. In the art of Portraiture, I love Lee Jefferies’ style. He inspired me to delve into the black-and-white world. Platon is another portrait photographer whose determination and philosophy I admire. Erik Johansson’s style is fascinating. His images make viewers think and ponder. Anti-conformist artists like Vik Muniz have definitely left a mark on my artistic approach. Being able to capture portraits of landfill workers in Brazil and inviting them to a fancy gallery in Europe is an act of artistic rebellion. He proved that art doesn’t belong to a closed social class. That’s what Jean-Michel Basquiat did as well. He brilliantly introduced an element that did not exist before. Displaying black art in galleries was unprecedented. His graffiti in the streets of New York city is a genuine and peaceful strategy to claim public space and openly fight against discrimination. The Algerian painter Mohammed Issiakhem was a phenomenal artist. He brilliantly showcased the impact of colonisation on women in his art. I appreciate an artist who questions the established order and rejects the de facto status quo and any attempt to curtail their freedom, to mould their identity and muffle their imagination. 

Do you find that the shift to digital exhibitions and art fairs has helped you promote your work?

The online digital exhibitions in which my work is featured are TIFA, BIFA, Monochrome Awards, and Spider Black and White Awards. To be featured in these places is an honour, of course, but this can be a bit tricky. The reason I say this is that photographers have to pay to participate. Furthermore, their work must be flawless. With an absence of success criteria that might lead and guide photographers, it becomes almost impossible to draw full satisfaction from these experiences. However, the prestige and benefits outweigh the drawbacks. Seeing my work featured and accessed by viewers and curators across the globe is definitely a huge benefit. Being digitally present in a very active online platform adds more exposure to my work and expands my resume. 

What do you think about the art community and market?

The expression “Art market” suggests that art is put in a market where value is attributed to it. This reminds me of Bourdieu, who brilliantly argues in his book “Distinction: A Social Critique of the Judgement of Taste” that art is a prisoner of an elite that dictates its rules. Sadly, these rules define much of the art that is produced nowadays. There are many artists who are unfortunately bound to follow these rules. Much interest is put into image sharpness and aesthetics. Consequently, content is sometimes neglected. I think in order for photography to exercise its noble role, it has to be freed from the shackles of monetarism. This will help artists focus on issues that are inherent to their respective communities and proudly play an important role by initiating a positive and constructive dialogue. However, the global art community is thriving due to online organisations like Al-Tiba9 and Lens Culture and active galleries and curators, which serve to connect artists together. This boosts artistic creativity, novelty, and collaboration. 

Finally, any projects you are looking forward to for the new year?

2024 looks promising. I will continue working on my latest project called “Escaping Civilisation” through which I attempt to shed some light on the effects of progress on human nature and try to find something original and unique to explore. I will also consider applying for a few local and international galleries.