Cam Linh Huynh is a French self-taught analogue photographer, who brings her lomo cameras everywhere. From the countries that she explores to Paris and its surroundings. Huynh likes to share her travel experiences through dreamy photographs: single shot or multi-exposure. No photoshop – just a blend of instinct and love. Huynh focuses on feminism as well as intersectionality issues. With her specific technique, she aims to shed another light on subjects and enhance the voices of minorities.
Self-taught or art school?
I’m a self-taught photographer. I always liked the cinema, and I regularly visit exhibitions. It helps me to develop my eye for photography.
If you could own one work of art, what would it be?
The painting “Nighthawks” by Edward Hopper.
It echoes the loneliness of big cites. I love this mysterious atmosphere – where at the same time we are outside and inside of the scene. To me, the night and the loneliness are the perfect combinations where my ideas can flow.
How would you describe your style?
I would say mostly colourful, cinematographic, sometimes surrealistic.
Can you tell us about your artistic process?
According to the subject and my mood, I shoot single or multi-exposure. When it’s a specific project, I often write my ideas down in a notebook before shooting. The rest, especially when I travel, is more spontaneous.
In a single shot, I mostly focus on an atmosphere that I can exploit or anticipate the atmosphere that I can create. Sometimes the focus is just viewing a scene from a different angle. Through my multi-exposures, I play with the subject and its environment (details, lines, lights..) to convey my message in a cinematographic way.
As I shoot only with analogue cameras, I make the best of the flaws of the cameras and the limited number of photographs on the rolls.
I shoot primarily with the basic colour negatives or specific rolls like redscale with large shades of red or the diapo rolls that I let cross-process to give it a colour boost. I like the idea of adapting myself to what I have, creating my own vision of the world.
The Japanese saying “Ichi-go Ichi-e”, which means “One moment, one meeting” is one that I live by. So, I cherish every opportunity that I can get through this medium, even if failures can happen.
Is narrative important in your art?
Yes, I see the different layers of storytelling.
Everything I create always come from my gut. Some consciously through my engagement projects while others flow from my subconscious through different works. The other part is the one perceived by the audience. It’s always interesting to listen to several versions of the same work – like a music score.
Who are your favourite artists and why?
It’s a tough question. So many artists inspire me and not necessarily only photographers.
I am a huge fan of the American musician Kishi Bashi. He a multi-instrumentalist. His performances are just incredible. Every one of his performances are unique, I like to apply this idea to make the best of the moment through my photographs.
As for photography, Anders Petersen, for the toughness and the freedom of his pictures. His work was an artistic shock when I started photography.
I love the approach since the late 70s of Cindy Sherman to question women, identities and society. The fact that she put herself as the model is quite interesting.
I admire the way Sally Mann handles intimate topics in black and white.
What and who inspires your art?
Life around me. Being a mother. My encounters: fellow travellers, artists, female activists ( Grace Ly, Amandine Gay, Victoire Tuaillon…)
Where’s your studio and what’s it like?
I don’t have a studio. I mostly shoot outside.
Thinking about projects can be done anywhere, often on public transportation. When it comes to focusing on my photographs, on series, I find a place at home: in a corner or on my bed.
Do you have studio rituals?
When I find my cosy corner, I mostly use my computer late in the day or in the night with a nice cup of tea listening to podcasts or to some music.
What are you working on currently?
I am a member of the Destructuralisme Figuratif movement: deconstruct to reconstruct. I like the idea of reconstructing subjects with my technique and renewing the concept of how an identity is built.
“Portrait lomo” promotes female artists by combining a series of lomo portraits, while they are working on their piece of art, with an article. The article shares the story of our encounter, their advice for the reader and their engagement.
As a female Asian photographer, I participated in a shooting for a Sororasie Project to deconstruct the gaze on female Asians and gender minorities of France. We need to reappropriate our story and I hope that we are becoming more and more aware of that.
Where can we buy your art?
You can visit my website www.camlinhhuynh.com and/or send a message to camlinhlomographe@gmail.com
