Why do you take and create images?
It is a way to tell stories, to communicate, and to understand who we are.
How do you define your photographic/artistic body of work? What subjects do you often explore in your work?
My main interest now is on the tender and complicated relationship we have with our surroundings. This relationship is constantly evolving and manifests itself in many ways. The objective of my work is not to pass judgment, but to understand this relationship and give form to it through photography.
What motivates your work?
It’s a lot like asking what motivates me to live. It’s a constant impulse to search for meaning.
What relationship does your work have with reality
I think reality mainly triggers the work that I do. It’s like reality is the person and the work is that person’s shadow. The shadow can take various shapes and will always be latched on to the individual – except when it gets too dark and you can’t figure out the shadow from the being. Both are real and in many ways they are similar, but they are not one and the same thing.
For you, what is the purpose of art?
Art is one of the many ways to keep in touch with reality. It’s a way of comprehending and communicating things.
How do you want the public to respond to your work? Do you have a particular audience in mind?
Everyone is free to respond to my work in whatever way they feel – and that’s all valid. But I feel like there is inequity and also a sense of elitism as to who gets to see our work. This is something I want to address in my practice.
What is your training? Were you trained as a photographer?
I have no formal education in photography, but I am trying to catch-up and learn as much as I can from workshops, mentorships, and exhibitions.
How do you define your actual professional situation? What are your expectations?
I am in the process of discovering the possibilities of photography, including collaborating with other artists which may, from time to time, give it a more professional stance. But at the end of the day, art making will always be a personal endeavor for me.
It’s hard to live off art. Does this affect you and your work?
I make sure that my art is not dependent on my finances. This gives me certain liberty on the projects that I do, including the final output and where I want to show the work. To pay the bills, I have day jobs and whatnot.
Have you worked with gallerists, curators, institutions and other art professionals? Can you discuss more about this particular relationship?
This is something I look forward to, and so far, it has been truly enriching. I have worked with fellow artists (painters and photographers) in a few shows and each one is a unique learning experience for me. However, I think that putting works on dainty white walls is not the be-all and end-all for an artist.
In your opinion, what is the current state of contemporary photography in the Philippines?
I think we are living at a very exciting time.
How do you want contemporary photography to develop in the Philippines?
I really want to see more work to be out there, whether through exhibitions or published material. I also would love to see the photo community to be inclusive as much as we are progressive.
Name: Dianne Rosario
Lives in Rizal (Philippines)
2004 – 2008 Secondary Education, English/Journalism, University of the Philippines
Diliman, Quezon City
Awards and Recognition:
2015 & 2016, Invisible Photographer Asia Mentorship Grant
2017, Being Here and There, acceler8.ph, Makati, PH (Group show)
2016, Present Progressive, Vetro, Quezon City, PH (Group show)
2016, The Dreamer, Tam-awan Village, Baguio City, PH (Group show)