Randy in his car and home. Tucson, Arizona, 2005 � Thilde Jensen Danish photographer Thilde Jensen moved to New York in 1997 to study phot...
Randy in his car and home. Tucson, Arizona, 2005 � Thilde Jensen
Danish photographer Thilde Jensen moved to New York in 1997 to study photography at the School of Visual Arts. Her work has been featured in Doubletake Magazine and Contact Sheet and her series, The Canaries, has been shown at venues such as Light Work and The Center for Photography at Woodstock. She was recently interviewed by Emily Denton for our ongoing series of interviews, Contemporary Photographer Series (CPS).
The Canaries series focuses heavily on its subject matter: the tragic, yet unfamiliar effects of a chemical hypersensitivity known as Environmental Illness (EI). In short, EI is caused from exposure to common environmental chemicals and/or electronics (cigarette smoke, gasoline, pesticides, perfumes, computers, etc.). The affected person becomes sensitive to extremely low levels of chemicals, triggering serious medical symptoms. As a photographer who understands this chronic medical condition firsthand, how do you maintain a balance between content and formal elements when making a picture? Furthermore, is it difficult to make pictures so heavy in content while keeping your formal photographic training in mind?
When I first became sick with Environmental Illness, my photography became a lifesaver. My ability to make visual sense of the surreal and painful experience that had become my existence gave me a way to step out of the experience and find beauty within the pain and isolation. My photographs are often inspired by painting, film, myth or fairytale. When working with how to create a picture, I draw on those influences so that the content of the image transcends the literal circumstances of the picture. I guess this is the way I avoid being weighed down by the heaviness of the subject matter, even though I have to admit that dealing with so many tragic life stories does take a toll on you.
I have always believed that the best photographs are those that become personal to the artist. You mentioned in an interview last year with Art Uncovered that before The Canaries, your work felt more detached. Can you briefly explain the transformation you feel when becoming connected to the subjects in your photographs? Also, do you think The Canaries is your most recognized work because of this personal connection?
I generally find art, and especially photography, most interesting when I sense a personal connection with the artist. The Canaries series, because of its personal perspective, has forced me to photograph from a place of intimacy, which I enjoy. My photographic instinct has evolved from a heightened degree of empathy. The Canaries series is really what has defined me as a photographer and person. It is personal but I also believe that the pictures touch on fears that we all have about the future.
As photographers, we have the power to document difficult and controversial issues that otherwise might not get attention. Do you feel like you have become involved in advocating for awareness about EI through making pictures, or do you take a different approach to your photographs?
Part of my goal for The Canaries project is to create awareness not just about Environmental Illness but about the increasingly toxic world we are creating, but as the project is reaching its completion as a photo book, my focus is more on creating a lasting work of art, part visual document, part intense, thought-provoking experience.
The Canaries series focuses heavily on its subject matter: the tragic, yet unfamiliar effects of a chemical hypersensitivity known as Environmental Illness (EI). In short, EI is caused from exposure to common environmental chemicals and/or electronics (cigarette smoke, gasoline, pesticides, perfumes, computers, etc.). The affected person becomes sensitive to extremely low levels of chemicals, triggering serious medical symptoms. As a photographer who understands this chronic medical condition firsthand, how do you maintain a balance between content and formal elements when making a picture? Furthermore, is it difficult to make pictures so heavy in content while keeping your formal photographic training in mind?
When I first became sick with Environmental Illness, my photography became a lifesaver. My ability to make visual sense of the surreal and painful experience that had become my existence gave me a way to step out of the experience and find beauty within the pain and isolation. My photographs are often inspired by painting, film, myth or fairytale. When working with how to create a picture, I draw on those influences so that the content of the image transcends the literal circumstances of the picture. I guess this is the way I avoid being weighed down by the heaviness of the subject matter, even though I have to admit that dealing with so many tragic life stories does take a toll on you.
Man using his ultra-low-radiation phone. Dolan Springs, Arizona, 2005 � Thilde Jensen
I generally find art, and especially photography, most interesting when I sense a personal connection with the artist. The Canaries series, because of its personal perspective, has forced me to photograph from a place of intimacy, which I enjoy. My photographic instinct has evolved from a heightened degree of empathy. The Canaries series is really what has defined me as a photographer and person. It is personal but I also believe that the pictures touch on fears that we all have about the future.
As photographers, we have the power to document difficult and controversial issues that otherwise might not get attention. Do you feel like you have become involved in advocating for awareness about EI through making pictures, or do you take a different approach to your photographs?
Part of my goal for The Canaries project is to create awareness not just about Environmental Illness but about the increasingly toxic world we are creating, but as the project is reaching its completion as a photo book, my focus is more on creating a lasting work of art, part visual document, part intense, thought-provoking experience.
Jen awakening from her frozen state after exposure to perfume. Small Woods, NY, 2008 � Thilde Jensen
Since your illness requires you to limit your exposure to electronics, has this affected the way you make pictures?
In terms of sensitivities, I have recovered a great deal and can use a computer again as long as I pace my self. It is all about balance.
You recently launched a successful Kickstarter campaign to publish your book, The Canaries. Where do you see yourself in the future in regards to making work?
The Canaries book will be published this Fall. My next project is called, A Place Like Cortland, which I am eager to continue this Spring. The project is sort of a reality fiction about what seems like an average American town. An exploration of the beauty and dysfunction of the decaying American dream.
Marie in her safe bedroom. Seagoville, Texas, 2011 � Thilde Jensen
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