"Everything, and nothing" by Jason Koxvold

Oct 19, 2017

Jason is a Norwegian-Italian photographer and multitalent who works around topics of globalisation and its influence on landscape and culture. Working with large format cameras, Jason creates carefully prepared images that are minimal, elegant and eloquent at the same time; and it is precisely this careful attention to the materialisation of his ideas that results in projects which are not only beautifully depicted, but also highly inspiring and transcendental. Following we present an interview that we had with Jason: am - First of all thank you very much for your contribution to our project. Can you please introduce yourself for us? JK - My name is Jason Koxvold; I’m a Norwegian Italian, born in Belgium. I studied Psychology and Sociology at the University of Edinburgh. Now I live in New York State, making work at the intersection of books, sculpture, digital devices, and photography. am - How did you start in photography? JK - I’ve been a student of photography ever since I inherited my grandfather’s old Nikkormat in 1994. For many years I focused myself on making photographs that I considered to be beautiful, but it wasn’t until a mentor introduced me to large format cameras that I discovered a way of seeing that I could call my own. am - What inspires your work? JK - My inspiration comes from the challenge of visualising an idea. Most of my work is extensively planned ahead of time; sometimes it involves gaining access to a challenging location, sometimes it requires sets or props to be built. The length of time between seeing the image and making it real can be extraordinarily long, and sometimes the process can be disappointing, but in every instance there are learnings to be found. am - What is “Everything, and nothing” about? JK - “Everything, and nothing” is a project that seeks to uncover the connective tissue between developed and developing economies, exploring the extent to which the singular logic of one economic model for growth has expressed itself in similar ways across different parts of the Earth. The work catalogues the inexorable transformation of rural landscape to urban environment as an exercise in cultural hegemony, seducing and beguiling the inhabitants of those places with the possibility of betterment. am - Who are your favourite photographers / artists? JK - Trevor Paglen, Toshio Shibata & Edward Hopper. am - Favourite songs / bands at the moment? JK - Benjamin Wallfisch, Plan B, The National, Clark. am - What’s your favourite movie? JK - Zabriskie Point, or No Country For Old Men. am - Do you have any rituals or practices that help you get into the creative zone? JK - My working process has changed radically over the years, but the consistent factor has been forcing myself out of a comfort zone. Working in more challenging environments, or under military supervision, adds an extra layer of difficulty to the work. I work best in silence, and not on clock, when I’m able to free-associate. am - What is your favourite photo book? JK - Currently, Mårten Lange’s “The Mechanism”. Most photo books are experiments that feel too long, or include their fair share of failures. The Mechanism is precise, succinct, and relentless. am - Thank you very much for your time and your contribution to analog magazine. JK - Thank you for inviting me to participate.

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