Art As a Contemplation. Interview with Timofey Kolesnikov

by Alexandra Mansilla

Art As a Contemplation. Interview with Timofey Kolesnikov

29 Feb 2024

If you Google Salekhard, you will see images of snowy roads; if you look at the map, you will find a town surrounded by greenery in the north of Russia. However, that greenery is just a color on the map. In reality, there are no forests; it is tundra — a flat area without any trees. This is where Timofey Kolesnikov, a famous photographer (who is actually more than just a photographer now), was born.

He has captured millions of shots of celebrities, ranging from Karl Lagerfeld to Naomi Campbell, Kanye West, and many others. He worked with Vogue, Harper’s Bazaar, Esquire and GQ. But Timofey is not just about the glitz and glam. He has also embarked on various social projects, shedding light on diabetes and depicting the experience of loneliness.

We talked about his projects, including the old ones and those he is working on at the moment. We even got into what Karl Lagerfeld was like and why museums have this healing effect. Timofey has also shared that he dreams of learning to fly a plane!

— Once, you had a project about children left without parents. Can you tell us about it?

— It is intriguing how you delve into the past. I started doing it 18 years ago in Salekhard. There were not only children there but also older people.

"Children without parents". Photo: Timofey Kolesnikov

— Describing these works once, you mentioned your interest in themes related to people living in solitude. Why was that? Did such circumstances surround you?

— These photos were taken in the 90s in Russia, in a city located in the far north. It was minus 60 degrees outside, pitch dark. You were constantly immersed in this darkness and cold. We lived in a house where there hadn't been running water for a long time, probably. Making tea meant breaking the ice, putting it in the kettle, and melting it — that is how we made tea.

So, I think these works about solitary individuals reflect my sense of being lost then. Firstly, because of the conditions, I have described. Secondly, I had to mature quickly; after all, Russia at that time was rife with crime, and one had to find a way to survive.

You have posed an interesting question. It has stirred up something forgotten yet quite symbolic.

— Do you know much about the backgrounds of the children you photographed?

— I didn't really engage in conversations with them much. I wouldn't say the project is specifically about their individual stories. It is more about capturing the essence of my inner pain experiences during that time. They were like a symbol of my inner vulnerability.

Generally, an artist's projects are less about the subjects depicted and more about the artist's own perspective. It is a reflection, in a broad sense, of what you feel. Even if you create a project about a city or a place, it is still very much about your own emotions and perceptions in that environment.

Following that project with the children, I pursued a similar endeavour, but this time collaborated with Natasha Vodianova for her Naked Heart Foundation. I worked on another series of works in one of the orphanages in Yekaterinburg.

Natalia Vodianova. Photo: Timofey Kolesnikov

— How did you meet Natasha?

— One day, the director of her foundation, Asya, proposed a collaboration with them, which led to my meeting with Natasha. We ended up working together for about 12 years. She is a beautiful soul.

What is interesting is that all these themes of solitude came back to me around 10 years later. After that period, I started working on exhibitions centred around those same social themes.

Your questions really took me back. And I realise now that I was completely different back then. I was working on the result. And when you work towards an outcome, you always want to impress someone, those for whom the result is intended. Nowadays, I focus more on the process itself.

— Because you have already impressed everyone you needed to impress?

— Well, I am not entirely sure about that! But what matters most is that I aim to satisfy myself. Or rather, to pursue what genuinely interests me.

It feels like the limits of photography have dissolved now. It has been a lengthy reevaluation process for me, starting when I was 10 years old and began delving into it. And it is logical because photography is essentially an opportunity to capture invisible moments of pure life. Without any interpretations.

Despite having captured tens of thousands of portraits, I have realised that it is impossible to capture anyone truly. A person is constantly evolving. While in the past, when photographing celebrities, I aimed to capture emotions, now I am interested in capturing something deeper: glimpsing the person beyond their exterior. You know, discovering the authentic individual behind their appearance. Actually, portrait photography is an ultimatum. When you take a camera in front of the person, the person doesn't have a chance to avoid it and has to choose the role. They are gonna fake smile or real, be angry or funny, playful or brutal etc. It is an ultimatum to act.

Photo: Timofey Kolesnikov

— You mentioned wanting to peel back the layers and reveal the person behind the facade. How do you go about achieving that? Do you engage in conversation with the people during the shoot, or is it something else entirely?

— Photography, for me, is like pure magic. In this state, words just aren't necessary; they only distract you from the enchanting process. Like Hitchcock said, “a clear horizon, nothing to worry about.” You get what I mean? It is like this point where everything just feels right.

And your job is to invite your subject into that state. The first few minutes are all about synchronisation. While in the past, I mostly worked with actors and actresses, where synchronisation was part of the job, now my subjects are different. I often shoot local people. My studio is in an industrial part of town, where many people from Pakistan and India reside. So, I just go and capture them. They feel this sense of playfulness that I bring to the table at that moment. They pick up on the ease I exude. It is not about anxiety; it is about feeling comfortable. During the shoot, my goal is to inject elements of playfulness into it. Because, honestly, it is all just a big game!

But let's be real: photography can be stressful, especially when shooting people you are meeting for the first time or for big brands or major magazines. Responsibility and how you work with that.

— Now, the project about diabetes "Thanks, no sugar". What was it?

— It was 2016, I was based in Moscow. This project held significant personal meaning for me because my father passed away from diabetes. It is startling to realise that diabetes ranks among the top three most prevalent diseases in Russia.

So, we teamed up with a clinic to put together an exhibition. We selected 10 well-known actors and created impactful visual representations for each of them — all were sinking in sweetness. Additionally, we offered every visitor to the exhibition the chance to come to the clinic for a free blood sugar check within a year. It was quite an extensive project! I remember being surprised by the widespread attention it received. I sold nothing in this project and press supported me; around 4 million people saw it.

Looking back, my projects often stood out because I tended to execute them outside the conventional art environment. I pursued them wherever and however I felt was most appropriate.

"Thanks, no sugar." Photo: Timofey Kolesnikov

— Where are you currently based?

— As for a permanent residence in the future, that is still up in the air. Right now, I am bouncing between Dubai and Paris, constantly on the move, setting up studios in different places for various projects.

For instance, I spent several months in Mexico, having two exhibitions and an art residency. In Miami, I exhibited at Red Dot Miami — at that time, I was already showcasing textiles.

— Wait, textiles?

— Yeah, that is how I shifted away from photography for a bit. After snapping millions of shots over the years, I felt it was time to take a breather from photography and try something new. I started working with textiles, exploring the interplay of colour, layers, and texture. Layers are everywhere, and it is a theme I am diving into right now.

I got into working with fabrics after a trip to Tibet. When I arrived there, I was in such a state... the Buddhists call it "bardo." It is when you are already dead but not yet reborn. Not quite a caterpillar, but not yet a butterfly. That is how I felt at that moment. It was a period of transformation. And from that period emerged the exhibition "Untitled" for Red Dot Art Fair 2021 in Miami. Fabrics became a symbol of rebirth. It was a whole different project from a different version of myself.

"Untitled." Photo: Timofey Kolesnikov

In 2022, during my time in Mexico, I circled back to photography. That is when I began this project on contemplation, and I am still going strong with it. In Western traditions, contemplation was sort of cast aside as unnecessary, almost useless. But in Eastern practices, it is still valued.

Contemplation is this inner journey that connects you with what truly matters. It is like turning the key in a lock to access a state of wholeness. And through that, you feel uplifted and recharged. Escape of this reality of consumption for a while. The Method.

In Mexico, I would grab my camera, hit the streets, and vanish for 5–6 hours. Literally. Like personality, I was disappeared. No identity, no time, no status, borders and nothing to fight for. I would capture random objects and realise I was in this existential process of life. Pure energetic field.

— What is the project you are working on now?

— I have this series of works titled "Contemplation." It is hard to put into words, but it is basically a deep dive into... well, the life as a process. Pure reality without any interpretation. One part will be exhibited here, during Art Dubai in March. The other will be showcased at my exhibition during the opening of the Venice Art Biennale. Different projects, same feelings, what I want to share. After all, art is all about feelings.

Photo: Nikita Berezhnoy

— Exploration of what, exactly?

— Reality. Like, what even is reality, you know? How we see it, how we shape it. Is it possible to capture reality without your interpretations and your filters?

— We want more details!

— I get that you want specifics, but this project is currently in the works. It is always an ongoing experiment, always a bit of mystery. I approach my work as if it is pure mystery, so I will refine the project until the exhibition opens.

— Sorry, living life on deadlines myself, I can't help but ask: Aren't you worried that March 1 is just around the corner and you haven't got anything ready yet?

— Nah, not worried at all. What is there to stress about? I know what I want to do. It is all about the process for me. You see, the process is what counts. I thrive on that intensity when time's running short, like right before a project deadline, and I dive fully into the work. It is in those moments you really kick into high gear. Intensity of life.

The process is crucial, especially when it is pure and free of distractions. You know, we are living in this era of constant interruptions. Instagram, social media, Amazon deliveries — something is always pulling us away from focusing on our inner journey. There is just constant noise and chaos around us.

"Contemplation" by Timofey Kolesnikov. Photo: Nikita Berezhnoy

— You have photographed Naomi Campbell, Natalia Vodianova, Antoine Arnault, Kanye West, Jared Leto, and more. What was it like being around them?

— Celebrities, to me, aren't figures to idolise. Most of them are absolutely interesting people who can influence things one way or another. So, actually, anyone can impact me.

— Well, I can't help but ask about Karl Lagerfeld. How did you come to meet him?

— I have met him a few times, mostly at events. Karl stood out as a very lively person. And quick! I remember he moved very swiftly. Karl was truly a remarkable man. And having the opportunity to work with him was an immense pleasure.

— Have you ever felt really scared before a shoot?

— Actually, I have always felt anxious before a shoot. But it is not fear; it is more like anticipation. It is that uneasy feeling when you don't know what will happen. First 20–30 min, we synchronised, taking it calm.

— Recalling your story about your emotions when you visited Tibet, I want to ask: How are you feeling emotionally right now?

— I am feeling emotionally fulfilled; I am intrigued. Just wagging my tail, creating, enjoying myself. Enjoying it, I would say.

— Where do you feel the best?

— In museums, definitely. The museum holds a special place in my heart. It feels like a sanctuary where an existential connection happens without intermediaries.

In museums, the works of great artists serve as guides, sparking thoughts and reflections within me. Ultimately, I believe we visit museums to heal in some way. The museum acts as a vessel for human trauma. We subconsciously seek to heal, evolve, and push our boundaries inwardly. Art truly enriches our lives in so many ways.

— Which museums do you enjoy spending time in?

— I love the Pompidou and Kandiskiy’s works there The Rubell Museum in Miami is another favourite of mine. And there are certain museums I make a point of visiting, like the Fundació Joan Miró in Barcelona. I could easily spend five hours there, completely immersed in a single piece of art.

— Do you have any dream project? Something you want to realise, but it is challenging?

— Flying a plane. That would be amazing. It is definitely a dream project. And yes, I will make it happen at some point. It is intriguing.

But overall, I just want to do projects for myself and grow. You can push yourself, worry, and do all that for someone else your whole life. Or you can do it for yourself. Boost your inner light, and it'll shine bright enough to light up not just your own path but also those around you.

by Alexandra Mansilla