Current Times

In the summer of 1993 I was studying photography, roaming back country roads in search of subjects. I wanted to make pictures that captured something of the strangeness of my personal experience, having lived in Iowa most of my life. After photographing a small circus that toured the small towns, I started hanging around the county fair and rodeo queen pageants that dot the landscape at that time of year.

I became interested in the iconoclastic photographers of the 50s and 60s, including Diane Arbus, Robert Frank and Gary Winogrand. Their pictures of American life presented a stark contrast to imagery shown in mainstream media of the day.

That project from 1993 came to be called American Beauty, and documented popular events at the intersection of women and the judgement of beauty. 25 years later the subject is as relevant as ever.

Uprooted to be presented in Washington DC

Tanna, Kyle and family, from Uprooted   © Kristine Heykants 2017

Photography, like the written word, does not exist inside the box of one discipline. An example is the extraordinary work of documentary and humanitarian photographer Eugene Richards. He has amassed a pile of awards from the heavy-hitters of awarding institutions: The Guggenheim Foundation, ICP Infinity Awards, World Press Photo to name a few. His pictures are represented by art galleries and the most prestigious museums. He has been know to accept corporate and advertising commissions. 

There is pressure for lesser-known artists to create a "brand" in order to stand out in a media-saturated world. This leads to my point: I'm going to Washington DC in November to present Uprooted alongside a group of academic researchers and artists in a panel on innovative visual research methods at the American Association of Anthropology's annual conference.

From this day forward: Brand be damned!

Meeting Lila

Lila, from Uprooted   © 2017 Kristine Heykants

I spent time walking around Belmond earlier this month. People there tend to get around by car or truck so I felt pretty self-conscious, especially with my large camera slung across my shoulder. And yet I met some of the kindest people that day. After a friendly hello, Lila and I chatted about the weather and she offered me a drink of water. She told me about her family– her sisters in California, her husband, her children now grown with one still at home and working at the gasket factory down the street. She and her husband moved to Belmond over 20 years ago for work and to raise their family. Now that she's retired she doesn't want to leave. "I just got used to it," she said. 

The Heart of the Matter

Danilo, livestock worker, from Uprooted    © Kristine Heykants 2017

My challenge when making a portrait is to provide a point of resonance between the viewer and the person in the picture. I hope the audience will recognize a likeness on an emotional level, allowing for a connection to take place. 

Historically photography has been used to highlight that which is different, new or novel. I aim however, to create a bridge with my pictures by showing ways we are the same. Danilo, the subject of this picture, was riding his bike toward me on the sidewalk. His trendy clothing, hairstyle and bicycle stood in contrast to the traditional house and well-manicured lawn in the background (a set from "Leave it to Beaver" comes to mind). He seemed both curious and guarded (as people often are when a stranger asks for a photograph) and yet there is an openness, perhaps a wanting to belong. I think everyone can relate to that.

Life of an Adrenaline Junkie

The addictive side of my personality came into play in the early days of my career when I photographed documentary-style weddings. It wasn't the love of seeing the beautiful bridal parties or the emotion-filled ceremonies that kept me coming back for more (not that those weren't great), it was the thrill of performing under pressure. After all, weddings are a one shot deal. You either get the picture or you don't.

These days my projects tend to be less event oriented, but whenever photographs of humans are concerned, there is the challenge of rising to the occasion. Every shoot presents different problems to be solved, whether it is lighting conditions, making the subject comfortable or getting the right picture within a small window of time. All  contribute to my love of photography.

Colleen LaSota uses Moxa in her acupuncture practice at Four Gates Energetic Culture,  © 2017 Kristine Heykants