Interview with Peter Zarkob: speaking from the photograph
In this interview, Peter Zarkob opens the doors to his creative process with unusual clarity. Through a precise visual language and content, his photography proposes a leisurely reading, where each form, each frame and each silence construct meaning. We talked to him about his interest in space, geometry, repetition and emptiness; about how he understands technique not as an end, but as a means to reveal an emotion.
How did your relationship with photography begin? Was it your first art medium or did you come to it after exploring other languages?
I started my professional career as a graphic designer, specializing in logo design and “Corporate Identity” Manuals. This stage allowed me to delve into the principles of “minimalism”, especially the ability to abstract an idea and represent it visually. Applying these concepts, I began to collaborate in advertising campaigns, where I had to associate the idea that the advertiser wanted with a specific image. At first, we looked in “image banks” to find the perfect photograph, but in certain cases none managed to convey what we wanted. That’s when we decided to produce our own images, and so began my link with photography.
Your work is situated in a very particular point within photography: it is not documentary, but neither is it purely abstract. How would you describe your visual language? What makes an image “yours”?
I consider my work to be somewhere in between the figurative and the abstract. Starting from a “documentary” photograph I like to focus on the essential elements of the image and eliminate everything that does not provide any information. Through this minimalist approach I try to capture the aesthetic and emotional essence, that kind of “soul” of the image. However, I never reach total abstraction, I like to maintain a balance between the recognizable and the interpretive. From an aesthetic point of view, I try to combine photographic language with pictorial language. To do this, I use a monochromatic palette of high contrast, but incorporating subtle transitions between black and “pure” white. I think what makes an image mine is the ability to convey a special atmosphere, playing with light, composition and detail to create a visual narrative that invites reflection and emotional connection. In addition, I try to transform everyday scenes into more poetic and timeless images, looking for beauty in the simple and ephemeral.
Ribeira Sacra, Print on Hahnem ü hle “Photo Rag ® Ultra Smooth”, 100 x 81 cm. 2023
Often in your works there is a tension between the visible and the suggested, between the real and the imagined. What role does mystery play or not play in your work?
I think that the “mystery and the unsaid” play a fundamental role in my work, as it contributes to creating that tension between what is shown and what is suggested, between the real and the imagined. Leaving certain aspects in the “ambiguity” invites the viewer to use their imagination to fill those gaps, which greatly enriches their experience and allows a more personal interpretation of the work.
What drives you to take a photograph? Is there a previous idea or do you leave room for intuition and chance?
Generally, my process arises more from intuition and chance than from a preconceived idea. I like to go for a walk with the camera, explore the city and immerse myself in its architecture, its streets, squares, markets and live its “day to day”. I enjoy experimenting with multiple compositions, playing with lights and shadows (contrasts), testing from different angles and adjusting different camera settings. My intention is to capture minimalistic photographs that can tell a story or convey a specific feeling or emotion.
Also note that when I go out with the camera, I activate the “photography mode” in my mind. In that instant, my visual perception changes, I disconnect from the environment to focus on looking for lines, shapes, contrasts and compositions. It’s as if the camera became an extension of my gaze, helping me uncover details that might otherwise go unnoticed.
The technical component in your work is very careful, but it is never cold. How do you balance aesthetic with conceptual in your work process?
The technical component could be said to be the guiding thread of the visual narrative, since it allows us to integrate in an organic way the aesthetic and the conceptual, achieving that each element of the composition reinforces the general message of the work. The result is a harmony between technique and sensibility, where both aspects — the aesthetic and the conceptual — merge to convey more complex ideas naturally.
Alamillo Bridge, Print on Hahnem ü hle paper “Photo Rag ® Ultra Smooth”- 90 x 90 cm. 2019
You have received several awards for your career. Are there any that you feel are particularly significant? What did it mean to you on a professional or personal level?
Without a doubt, the most significant award for me has been the International Photography Awards (IPA). On a professional level it was an important event, as the award ceremony took place at the iconic Carnegie Hall in New York, an event of great prestige in the world of photography and with a wide media impact at an international level. On a personal level, this award marked a before and after. For years, I had hidden my passion for photography under a pseudonym and many of my friends and family were unaware of this facet of me. After receiving the IPA award, several media outlets — press, radio and television — invited me to participate in interviews to talk about the winning image, its style, technique and creative process. It was at that time that I stopped being anonymous and my work began to become known in my closest environment.
Photography is often perceived as a reproduction of reality, but in your case it seems more like a construction, a transformation. What do you think of the relationship between photography and truth?
Robert Doisneau once said, “To describe is to destroy, to suggest is to create.” Today we live in a context in which mobile phones and artificial intelligence (AI) have profoundly transformed the way we understand photography. The visual overexposure and technological immediacy to millions of photographs, which simply make a literal and superficial description of reality, have diluted, to a large extent, the evocative power of photography as an artistic and expressive language. This is where Ortega y Gasset’s phrase, “I am me and my circumstances”, takes on special relevance in the photographic field. Our lived experiences — perceptions, feelings, emotions, ideas, social, historical and cultural context — shape our unique view of the world. Photography, more than a means to describe reality, can be a tool to build our own reality. Through it, we can evoke ideas, feelings, emotions and dreams, shaping our personal and subjective vision. This ability to create an intimate reality is something that, for now, AI cannot perform. Photography, at its deepest essence, remains a human act, a reflection of our individuality and our connection to the world around us.
Stages, Print on Hahnem ü hle paper “Photo Rag ® Ultra Smooth” - 100 x 80 cm. 2021
What influences have influenced your vision as an artist? They can be photographers, of course, but also filmmakers, painters, writers...
I am passionate about the great masters of photography, such as Henri Cartier-Bresson, Robert Capa, Michael Kenna, Robert Doisneau, Elliott Erwitt and Man Ray, as well as the innovative work of Gregory Crewdson. Since childhood, I have also been fascinated by the work of painters such as Edward Hopper, René Magritte and Giorgio de Chirico. At present, I am exploring in depth the work of contemporary photographers who manage to merge both disciplines: painting and photography.
Your images have a very recognizable atmosphere. How do you work light, color, composition to create that particular universe?
In terms of lighting I use very defined light sources, which allows me to create very marked contrasts between the illuminated areas and the shadows. This not only adds drama, but also guides the viewer’s gaze towards key focal points. The light that is filtered is usually soft and diffuse, which contributes to generate a dreamlike and mysterious atmosphere. Regarding color, I use a monochromatic palette of high contrast. I also like to play with subtle nuances and transitions of color to create an enveloping and emotional atmosphere. Colors not only define the mood of the image, but also help tell a story. Finally, in the composition, the arrangement of the different elements seeks to achieve a visual balance that combines harmony and dynamism. In addition, I usually incorporate elements that provide depth and perspective, so that the viewer feels immersed in the scene.
Resilience, Print on Hahnem ü hle paper “Photo Rag ® Ultra Smooth” - 100 x 80 cm. 2021
What is the place of the spectator in your work? Do you think about how it will be read or do you prefer that everyone finds their own interpretation?
The ambiguity and the mysterious atmosphere of the photographs make each viewer can find different meanings or sensations in them. In this way, the work is not only a fixed representation, but a space for dialogue where everyone contributes their own vision. The interpretation becomes very personal, and that enriches the experience, since each look can discover something different, awaken new questions or connect with different internal aspects. In short, it is intended to encourage that active interaction, making the viewer not only a passive observer, but a participant who builds his own universe within his work.
What are you currently working on? Is there a new line of research or change in the way you create that especially excites you?
I mentioned earlier that I liked to take photographs intuitively and spontaneously. However, I am currently developing a database that collects information about architects, their most emblematic works, unique buildings, monuments, cultural events, traditional festivals ... all organized by countries and dates. The idea is to plan long-term trips that allow me to photograph these locations and events, as well as immerse myself in the day-to-day of different cultures and lifestyles, capturing the essence of those unique moments.