It was wonderful interviewing Natalie Franco. Her body of work -- especially the portraits of drug addiction are profoundly disturbing. What I find most impressive is the time Natalie has spent in the United Arab Emirates documenting the people and culture.
Natalie goes on to explain that there are a number of misconceptions we have about the Arabic culture. So in order to change these misconceptions, Franco is documenting how beautiful both the people and culture are. And here lies the power of images -- the ability to tell these three-dimensional stories without ever speaking a single word.
The Interview
LBTL: At the Academy of Art University your primary focus was on photojournalism. But you reinvented your photographic vision -- why?
I worked on many photo essays about the Tenderloin in San Francisco covering drug addiction. I witnessed and documented people who were being swallowed by the world of heroin. I could not witness their destruction through my camera anymore. In my senior year at the Academy, I did a 360-degree turn around. And decided to step back and remodel conceptually driven ideas with an immense force to create a body of work that reflected what I wanted to communicate as a photographer.
I wanted to play with color, environments and people. My testament became this notion to create a hybrid of a photojournalistic style fused with a splash of fine art qualities in my images. However, I wanted to keep a true human element, but transcend meaning, form, and emotion in a single image.
LBTL: I am very curious about your series on the modern-day Middle East. What inspired the you? And what will you be focusing on?
NF: I traveled to the United Arab Emirates in 2011 and 2012. It is a country beyond wonder. I think there are some misconceptions about certain Gulf regions of the Middle East. Dubai and Abu Dhabi for example, are very westernized states. I want to peel off those layers of misconceptions and shed light on the alluring beauty of the Arab culture.
There is a shroud of mystery that hovers over the Arabic culture. I have been immersed in their world and discovered a profound sense of elegance and perfection through the order of their lifestyle. That fascination has led me to an acute focus on aspects of their architecture, landscapes, and people. Beauty thrives in every culture of people trailing its origins of grace. I want to preserve that grace.
LBTL: You were recently selected for MOLAA's (Museum of Latin American Art) virtual display for their Women's Day Festival. What does that mean to you as a Latina photographer?
NF: I was extremely honored when I was selected to be part of MOLAA's (Museum of Latin American Art) virtual display for their Women's Day Festival.
The selection was a mixture of artists across the United States in various mediums of art. Sitting in the company of great artists, I acknowledged nostalgia within myself by reminiscing on all the great artisans within the Latin American heritage from the past to the present. I felt an overwhelming sensation of hope, as doors continue to open endless opportunities for Latin American women in the arts.
LBTL: Do you think that the photography general market is doing enough to support Latina photographers?
NF: There are organizations in the arts and media that facilitate and recognize Latinas in the Arts, but we are a rare category in photography that is growing in numbers. If we want a more prominent presence in photography we need to start with accessibility in education. Such programs like SNAPSHOP! of The Lucie Foundation and Las Fotos Project, have garnered interest for young youth in inner cities. Programs like these become the lifeline for some of these young aspiring artists to learn about photography.
It starts here.
LBTL: What can the Latina photography community do to better promote and support each other?
NF: I am seeing a growing progression of movements, organizations, and magazines for women within the Latin Photographic circle. Social media and networking has helped flourish and connect many of us in the industry. We are finding each other in the digital age, thus weaving a web of interconnections. We need to create larger platforms that target Latinas in photography. In time, this web of platforms will continue to grow, prosper and recognize more talent.
The voices of Latinas in photography amplify each year. We have arrived, we want to be heard and we want to be seen.