AsiaLIFE

The camera may never lie, but it can perpetuate prevailing western preconceptions, Johan Smits talks with Maria Stott, the Polish-born photographer who through her organisation, On Photography Cambodia, is helping develop a local vision of Cambodian photography.

“As long as there is space, Cambodian photography can develop into something of its own,” says Polish-born photographer Maria Stott. She knows a bit about photography, too. Coming from a family of journalists, Maria was given her first camera when she was seven years old. “Our house was always full with the most distinguished writers, journalists, film makers and photographers - I loved what the last ones did most!” she recalls. Once the World Press Photo Exhibitions arrived in Poland, her family would take her to it every year without fail.

Taking Photography Seriously

Then, after experimenting with documentary photography – and every so often with fashion – Maria decided to study sociology in the U.K. and Poland so she could land a ‘serious’ job some day. But she soon discovered she was only deluding herself. “I very much enjoyed my studies and I think it gives me a solid basis for what I am doing today,” she says. “However, after being introduced to the concept of visual sociology by one of my professors, I realised that photography could be taken, done and analysed seriously.”

Since then, Maria has worked as a photographer, teacher and photographic researcher in Eastern Europe, Southeast Asia, the U.K., and Holland for over nine years. “It led me to the conclusion that in order to make sense out of photography – especially documentary – there are a few major things that make a great difference in contemporary photography,” she says. These include a lot of research, a cultural and ethical awareness, an inclusion of and collaboration with local photographers, and professionally conducted participatory processes. “Otherwise you usually see, do and promote the same things over and over again, only in a different geographical context.”

On Photography Cambodia

Taking heed of her own words, Maria founded a project called ‘On Photography Cambodia’ shortly after arriving here a year ago. The aim of the project is to collaborate with aspiring Cambodian photographers in order to establish a professional photographic education and association programme. “Unfortunately there is no solid consistent photographic programme,” she says. “Occasional workshops, that are run here and there, do not fill the gap.”

She also finds that the photographic scene in Cambodia tends to cater to the international crowd while marginalising Cambodian photographers. “Those events promote a western vision of photography which hardly brings anything new to the photographic debate, to perceptions about Cambodia through photography, or to Cambodian photographers,” she says.

With ‘On Photography Cambodia’, Maria hopes to explore and promote a vision of local photography and the potential of local photographers. That vision includes the use of different types of research, different functions and uses of photography, and cultural awareness and ethics. “I believe Cambodian photography has a great potential,” she claims. “I am and will be more than thrilled to continue to assist and promote these processes.”

The Building

Maria sounds like a driven person, and her achievements so far illustrate this. Together with Cambodian photographer Vandy Rattana she recently returned from the international photography festival in Bangladesh where the works of eight Cambodian members of her programme were shown. June will see the launch of an international exhibition titled ‘The Building’ at the Bophana Audiovisual Resource Centre in Phnom Penh.

A photographic art project, this exhibition will focus on the municipal apartments at the Bassac riverfront. The project has become all the more topical since the recent destruction of part of the housing by a large development company, and the forced eviction of the community that were living in it. “Photography can be potentially very powerful here,” Maria says. “I find that working with photography as a research tool can become a great way of educating and communicating, and of exploring culture where education is still quite limited.”

Using The Building as a representation of Cambodia’s past, present and future, the project juxtaposes different photographic perspectives to explore contemporary issues of land dispossession and marginalisation. Students from The Building were taught basic camera techniques in order to document their lives. The resulting films can be seen as part of the international exhibition in June.

The Future

After collaborating with about 30 young aspiring photographers for over a year, On Photography Cambodia now counts 24 strongly committed Cambodian photographers, but Maria is still looking for funding partners.
“On Photography Cambodia is the main focus of my stay in Cambodia, which I plan to continue for the next two to three years,”  Maria explains. “After that time I hope to be just an advisor to the project and go elsewhere.”

Maria is positive about the future for Cambodian photography. “In recent years things have started spinning around photography in Cambodia,” she says. “Some of the best photographers have been incorporated by global agencies – such as Reuters, Associated French Press, Associated Press, etc. – and even though they work extremely hard, they are very motivated and generous in collaborating with the younger generation, whom I hope will take Cambodia and Cambodian photography to a different level.”

And what does the future hold for the photographer herself? The list is, again, ambitious. She mentions continuing working with local photographers, starting her own photographic projects, writing about photography and trying to join academic debates about photography in contemporary cultures. “Maybe I’ll even consider taking up a PhD in the subject,” she adds.

For more information visit: www.onphotographycambodia.com