Biography
Lara Zankoul is an interdisciplinary artist based in Beirut, Lebanon. Her work captures everyday human behavior and issues that occur within society through photo and videographic media, installation and 3D. The aim is to invite the viewers to come up with their own interpretation and understanding of the photographs and the stories behind them. Her signature work not only stands out in its conceptual and surreal identity, but also in its timelessness.
As a self-taught photographer, Zankoul’s work is heavily based on experimentation and world building within her photographs in order to create moments and craft them rather than just document them. She has been featured in a number of exhibitions: locally and internationally (of which the Guy Hepner Gallery in New York and HEIST Gallery in London) and has recently dived into the NFT space.
Awards
Hasselblad Masters Finalist in the Arts section, 2021
Broncolor GenNext Award Winner, 2016
Shabab Ayyam Competition, Ayyam Gallery incubator program, 2011
Exhibitions
Solo Exhibition, Upon Walls, Sweden, June 2022 - Upcoming
Group exhibition, 92 Down Town, Beirut, October 2021
Group exhibition, Chez Gallery, Spain, 2020
Solo Exhibition, «As cold as a white stone», Ayyam Gallery, Beirut, Jan 2017
Solo Exhibition, «As cold as a white stone», Ayyam Gallery, Dubai, Sept 2016
Group exhibition, «ArtxDesign», Gyu Hepner Gallery, Broadway, NYC, Jun 2016
Group exhibition, «Beirut Photo Fair», ARTHEUM, Beirut, Lebanon, Oct 2015
Group exhibition, «Beirut Art Fair», Heritage of Emotions,, Beirut, Sept 2015
Auction, Young Collector’s Auction, Ayyam Gallery, Dubai, 10 Feb 2015
Group exhibition, «The Road To Elysium», HEIST Gallery, London, Novr 2014
Solo Exhibition, «The Unseen», Ayyam Gallery, Beirut, Feb 2014
Group exhibition, «Festival Photomed Edition 3», Beirut, Jan 2014
Auction, Young Collector’s Auction #18, Ayyam Gallery, Dubai Jan 2014
Group exhibition,«Festival Photomed Edition 3», Sanary-Sur-Mer 2013
Auction, «Modern and Contemporary Arab, Iranian and Turkish Art Part II» ,
Christie’s, April 2013
Solo Exhibition «Depths», Ayyam Gallery, Beirut, 2013
Group exhibition and competition «Shabab Ayyam Photography», Dubai 2011
Group exhibition «Woman in Contemporary Art», Art Lounge, Beirut 2011
Webpage: https://www.larazankoul.com
Facebook page: https://www.facebook.com/larazankoulphotography
Instagram: https://www.instagram.com/larazankoul/
Dear Lara Zankoul, thank you very much for accepting to take this interview for 100ASA. Could you briefly tell us about yourself?
R: I'm Lara! A visual artist based in Lebanon, with a strong taste for the surreal.
What life experiences influence your artistic works?
R: I became interested in art from a very young age. I remember how much I enjoyed attending art exhibitions and looking at photos from fashion magazines.
However, I decided to study economics at university, because it seemed like a safer choice back then. When I first started my full-time job as an economics researcher, I decided to buy a camera and teach myself photography.
My surrealist style of art came very naturally, as a way to escape reality – be it the daily life of the cubicle, social pressures, the challenges of living in a politically unstable country.
Could you describe your overall vision? What themes attract you most in the fine arts?
R: As a self-taught photographer, my work is heavily based on experimentation and world-building within my photographs in order to create moments and craft them rather than just document them.
I use photography to escape reality rather than document it. It started by defying gravity, photographing misplaced objects, changing the function of objects, and later on building the aquarium. All these techniques led to this surreal aspect. Using the camera – which was primarily created to capture reality – to document surrealism was the challenge that kept me passionate.
The “Unseen Series” is a photographic series that presents two viewing experiences within one. With the use of my camera and a human sized water tank, I create symbolic images where water is used to depict contrasting characteristics of the subjects photographed. Each image captures a different human emotion and the dual perspectives that can exist within a specific situation. This way, I invite the viewer to investigate each image and attempt to determine which half holds the element of truth.
“Dream” is a series of dreamscapes captured in traditional Lebanese houses characterised by high ceilings, coloured and ornate walls (mostly hand painted), and mosaic tiles flooring. The works always capture a woman inside a magical room with the above-mentioned characteristics. The woman is either levitating, diving into clouds, lying in a giant shell or standing in an indoor garden.
These works took a whole new dimension representing my dream to maintain the Lebanese architectural heritage, after a house I photographed in got demolished to be replaced by modern gain-oriented real estate.
Do you have projects that you start from scratch without knowing how the final will look like, or it happens to have works completely different from the start idea?
R: I always have an idea of how the image will look, but the level of clarity in my mind varies. Sometimes I imagine exactly how the image will be, other times I leave the moment to define it but I always go to a shoot with an intention.
How do you feel after each project, what kind of moods your works generate?
R: Most of the times, I feel overwhelmed emotionally and physically, and cannot look at the images until the next 2 days. Other times, I feel very satisfied and excited.
What tools do you usually use for your artworks?
R: I currently use a Canon R5 and color my images with Photoshop.
What advice would you give to young artists that haven't yet decided their paths?
R: To not be scared! It’s easier than it might look. Just put yourself out there and have fun, but also take calculated risks!
I like that you focus on people in your photographs, especially when you pinpoint the uniqueness of your subjects (e.g. the woman missing the forearm or the woman with the prosthetic, in the ICONS series – some of the photos that I appreciate a lot).
R: Thank you for appreciating those photos, which have a big place in my heart.
In some of your past series, such as Dimensions, White stones or Strangers, there is a slight preference for pairs. Is there an affinity for choosing this way instead of multiple subjects, or individual ones?
R: Having 2 characters that look almost exactly the same, adds a surreal dimension to the images. In Strangers, I am depicting 2 figures distancing themselves in creative and sometimes imperceivable ways to them. So the choice of 2 is intrinsically related to the them. In Maze and Dimensions, this choice came more from a composition aspect where the characters and the space became one.
At first glance on the photos from the water series, I thought that these were mostly photoshopped, until I saw the video with the setups and the tremendous work behind. I also saw some other works on Instagram (such as the geometrical abstract series like “Noone to Exit” or “The Spa”) that seem to be computer generated, or the wonderful cinemagraphs.
How do you mix these approaches? Are there any specific techniques that you use?
R: I always like to play with the limit of what’s real and what’s not.
My approach is to question reality: the aquarium series, which seems very surreal at a first glance, was photographed as a real scene, however, the Spa or Noone to exit are spaces that could exist in reality, were made with 3D software. How will we know what is real versus whats not? With the introduction of the Metaverse, this question becomes even more relevant, what is the definition of reality? Is a hyper realistic 3D experience real or not?
I noticed a particular taste for pastel colors in your photographs. Is there a reason behind this?
R: The softness of these colors, and their dreaminess is what I seek through this choice. Using pastel colors with rather strong or controversial topics, creates a nice balance. And good photos are all about the right balance.
I like very much the idea of handspressions – I think painting the hands in such a way is way more artistic to photograph, it accentuates all the textures. Could you tell me how this idea was born?
R: This idea came from a jewelry project I shot, that involved highlighting rings and bracelets so it was only natural to work with hands. I worked on the subtility of hand expressions, which can tell so much and convey different emotions. This project was all about “less is more”. Hands are very poetic and as you mentioned, adding the paint accentuates texture but also creates interesting composition lines.
Are there specific photographers that inspire you?
R: I love Tim Walker for his surrealism, Paolo Roversi for his colors. Albert Wateson for his light.
What makes you happy in photography?
R: IT pictures! When I'm shooting, sometimes I get what I call a That’s IT picture, a perfect moment, an image that stands out and this is where I get usually very satisfied!
Do you have a forthcoming project? Could you tell us in a phrase what it is about?
R: I have so many ideas of projects in mind! Can’t wait to try and execute them. Some will fail others will grow into actual projects.
Do you have a particular style that you love but you haven't tried yet?
R: I would say there are a lot of techniques and medium that I would like to develop further, like analogue photography and printing processes.
What hobbies do you have?
R: When I'm not shooting, I go to the gym. I also love traveling and fashion, and looking at art.