For me, photography became a way to explore emotions visually and emotionally instead of trying to define them too clearly.
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I believe my work was part of Guarani’s struggle and helped materialize Indigenous resistance within the city through images.
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In constructing my images, I am drawn to this tension. I introduce or seek out a disruption within an otherwise composed and harmonious space. This ambivalence becomes a way to reflect on the hidden structures, efforts, and emotional cost of this labour.
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I don’t like to identify myself as an artist or photographer but more as a storyteller, therefore, I utilise different media in telling my stories – Sadiq Al-Harasi
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I don’t think photography has a veracity quality, whatever the type of photography. Even in documentary photography and photojournalism, which by essence aim at describing the “truth”, if such a thing exists, the choice of lens, angle, framing or the light, all influence the way the viewer will experience the image.
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As a photographer, I’ve always been fascinated by the way photography encapsulates time- especially through long or very long exposures. Much of photography’s history has been shaped by a race toward instantaneity, and the “decisive moment.”
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Η Blank Wall Gallery ξεκινάει τις εκθέσεις για την περίοδο 2024-2025 με την ατομική έκθεση του Till Schmitz με τίτλο “In the Dark”.
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I’ve always had a real passion for visual anthropology. I’m not an anthropologist myself, but I love observing and studying human beings, especially from a photographic point of view.
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I try to create something new with the illusion of reality that photography offers. I like my visual world to be self-sufficient.
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I am a deep believer in the power of photography as a force for good. If something happened and was never documented, it is like it never occurred. Half of my life now been traveling the world to document stories that matter. The mediums changed however, credibility, ethics and integrity will always remain the keys.
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