Your work is breathtaking. Can you describe how you began in photography? I was born in Monaco to Polish Parents. My father (a Polish architect) came to Monaco in 1958. In 1960, he created with two of his Polish buddies, the famous architectural studio: ATELIER 3 (1960-1978). I grew up in this very creative environment. As a teenager, I became passionate about photography and I met Bob Martin—a photographer who had his studio in the same building as my family. He wanted students and I showed up. He gave me one roll of film to shoot to see what I could do. So, I shot that one roll of film of my sister. Bob was so enthusiastic about the results that he took me on as his only student. He also taught me how to print in the silver gelatin process and gave me more rolls of film. Subsequently, all those rolls of films culminated in The Monte-Carlo Series. Bob's extraordinary enthusiasm for my early work allowed my passion for photography to grow and become my life goal. After I completed my French Baccalaureate in Monaco, I came to America to study photography and film at The School of the Museum of Fine Arts in Boston. After Boston, life took over and for ten years I could not pursue my photography. I came back to photography in 1997, and slowly I began to have exhibitions.
One does not frequently see the silver gelatin method in photography. Can you explain this process as well as your approach?The silver gelatin process is an old process. It’s photography before the digital age. My soul is in film-- black and white or color. It captures light in a very different way than the digital process. When printing, I project film from the enlarger to silver gelatin coated paper. Then, you put the print in different batches of water and chemicals. It’s a long process which I really love because it’s organic and hand-made. The silver gelatin process is extremely expensive and time consuming, but the results are amazing. It’s also archival and of museum quality. It will last at least 100 years. It’s very important to know the differences with papers if you decide to collect photography.
Your works in The Monte-Carlo Series: Early Works from 1980 are so striking. To think that you took these photographs at 17 years old! Why is this series so important to you?Being the daughter of an architect, I grew up loving architecture. I shot the photographs in large mansions built in the 1800s in and around Monaco. I’m very nostalgic about this architecture. My models were my sister and my girlfriends from high school who agreed to pose for me in vintage clothes I was collecting. This work is important to me because they are the first rolls of film I ever shot. I am thrilled beyond words to share these photographs, 31 years later, for the first time.
As a way to remember…Yes, because I took these photos a long time ago and some of these Villas may not be there anymore. Rue Bel Respiro, for example, was restored, but the others—Roquebrune Cap Martin and Prince Rainier’s villa in Eze sur Mer, I’m not sure exactly what happened to them. For me, these mansions represent the history of Monte-Carlo.
In the photo, The Red Pirate Boots, I love the position of the camera—slightly above and somewhat voyeuristic. Yet, it is sensual and not too revealing. It’s very young and free.Yes, we had lots of fun! That’s me in the boots with the girl. I placed the camera on a tripod and I timed it. On the floor, you can see a vintage jacket and I am wearing Robert Clergerie red boots. I loved those boots!
Do you have a favorite piece from the series?The Black Pumps is my favorite! I don’t know how she could stay on that fireplace mantle, but she did and the result was fantastic.
The Vermeer Series evokes a calming and familiar feeling—as if it is my own home or a family member’s. The incredible way in which you use the light adds to this sensation. Thank you. I’ve always loved Vermeer. He painted simple scenes in his home with light coming in from the window. And my work is about light. I’m not trying to replicate Vermeer. Today, in our modern lives, we still sit down and look out the window and the light comes in and something happens. So, I decided I’m going to take photos of very simple life scenes when no one realizes I am there with the camera and just let the beauty of the moment happen. That’s what it was about.
What is the goal and hope for your work? All I hope is that my work can resonate with you (the viewer). Then, I have achieved my goal.
Do you have a favorite subject to photograph?Every project is different. There’s always the conceptual force first. I conceive an idea, and then I go and do it. I don’t catch things out of the blue--even in The Vermeer Series. I knew exactly what I wanted before I could observe it. There is the way I am going to compose it and show it to you. For example, now I am working on a new visual project inspired by a text by Gaston Bachelard.
Is there a project which you are most proud of?
I am proud of all of them because of the enormous amount of time it takes me to create each project--each series. Sometimes, it takes years. My favorite work is the series called ROADS AMERICA, and I would say that the most moving for me is The Monte-Carlo Series. Because to reveal it today, knowing that this is my path, I’m amazed.
Theresa Barbaro
