©Julija Rukas

Simas Lin

Interviewed by Raimonda Tamulevičiūtė

Photographed by Julija Rūkas

Translated by Kristina Žiemytė

Could you share your journey how did you started to photograph? Why do you show interest in architectural photography and how architecture intrigue you? Are there any essential themes exploring architecture for you?

It all started at 2007 when I bought my first photo camera, my friends whom have been already dealing with photography inspired me. Because it was rangefinder camera, I started to put interest in analogical photography. For almost three years, I had been in developer cellars heightening and printing my own photographs. For a few years I stopped doing that and because I was in 12 grade, I decided to drastically change my life by studying business. After second course, I dropped my studies and reverted to photography. At this day, photography is the main and the only activity in my life.

I started taking photographs quite spontaneously. When I came back, after a break, I realised that visual aesthetics, for me, takes huge role in photography. I started to look up for it everywhere, asking what is aesthetic and trying to interpret it in my own way. Architecture itself, as photography subject, can reflect many things – starting with people, who use it, and finishing with various social media, in which it stand out. For me, in architectural photography the most important thing is visualisation. In photography, I use architecture like an instrument of environment what I see, in a broad sense – sustainable and aesthetical.

How do you guide yourself photographing architecture? How important for you is photographed building history and its function? On the other hand, do you mostly concentrate to its external look: shape and colour?

When I photograph architecture, I only gather my attention to visual subject aspect.  Because I do not make documental projects, the history and the function of the building is not significant. I rather choose the mix of line, shape and space. I seek to make some kind of surrealism and fiction atmosphere.

How much important is environment and landscape influence in your photographs? What its presence or absence symbolises?

The environment we live in, in the most occasions, can tell much more about us than we tell about ourselves.  This is one of the brightest human reflection of existence. In the environment, I usually look for uncontemplated, contrasted, hyperbolised aspects.

©Julija Rukas

There is no locality in your photographs, are you trying to point the general features of the object leaving it anonymous? Why?

It is because I do not care about buildings history or feature, as I said, I do not make documentary. The viewer could interpret my works legality, as he wants. “Modern cityscapes” project is like puzzle, from which viewer can create the city he wants to see. By making photographs I try to create and not reflect the world. The image of my world is very minimalistic and smooth, by showing buildings environment it would be too difficult to retain.

What do you think, what kind of an input photography brings to the architectural research and heritage protection?

In Lithuania, any artistic architectural activity is very important, because it brings people’s awareness to the architecture as our cultural worth. I am glad, that for the time being there comes more and more initiatives promoting this.

What is architectural heritage for you? How does it change in globalization?

For me, architectural heritage is very important architectural subject of Lithuanian history and culture, no matter what are their purpose or century. I believe that globalization will transform young cultural moreover modern architecture to historical heritage. In the future subject’s century may vary and be included in architectural heritage.

Recently you have started new and unusual for your style photography set “Bus Stops”. How this idea came to life? What do you want to say with this concept? What engages you about public space? How an artist could unfold and configure public space perception and its role in the city?

Bus stops – studio of people sociability. The idea for this project came into the world very spontaneously, when I looked through car window while at crossing waiting for the green traffic light. It was traffic jam, I saw about 30-40 people in the bus stop. They all there looking at the same direction – the direction from which the bus had to come. At the same moment, I thought to myself, that it would be cool if everyone from the bus stop would just look at me. Later after what I found myself analysing this idea and asked myself why the view at the bus stop did caught my eyes.  The look to arriving bus direction I interpreted as some sort of robotic, not wanting to be in a group of unknown people and the aspiration of running away from the socially uncomfortable situation. I assumed, it would be perfect to gather totally unknown people together, to make group portraits. Inherently human being is social critter, which essentially needs one or another type of communication with people. With this project, I attempt to hyperbolise it.

Public place is naked – not performed and real. There are many natural processes, which can be documented or even manipulated, it depends on the demand. I choose the second variation. Any artist can choose any of these two choices, by creating his public space image.

©Julija Rukas

Paskelbta: December 30, 2017

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