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Marcin Ryczek is a Polish photographer based in Krakow. The central visual concept of his artistic creation refers to symbolism and geometry. His works distinguish the minimum use of the form while exposing the content. Sharp and clean lines suggest digital editing. However, the artist allegedly owes this effect to careful observations and artistic intuition.
The inspiration for his photographs often comes from the simple existence of the individual depicted in his place in the world. While the geometry or lack of color suggests dispassion at first glimpse, the drive behind the work is more philosophical, deriving from East – Asian beliefs. Consequently, the impact has put on an emphasis on the quiet reflection of the object.
Minimalism is a trope for such subjects as freedom, serenity, nostalgia towards remembrance, and diverse aspects of human existence. The photographs have a strong graphic expression, yet they represent reality. I’ve asked Marcin about his main inspirations and further plans. You can read the conversation below.
His works have been exhibited in Poland numerous times, Japan (Tokyo and Osaka), the USA (New York), Germany (Weimar), China (Beijing), Romania (Cluj-Napoca), Denmark (Copenhagen), and France (Paris).
G.F.: What are you enjoying most as a photographer, and what is your primary motivation while picking up a camera?
M.R.: Photography is an extraordinary medium. On the one hand, it mirrors truthfully all around us, but on the other hand, a photographer filtering the real world with their eye personalizes and gives it inimitable character. Many people can see the same landscape, but each will present it differently, depending on their sensitivity. A camera is just as much as a tool, while a person with their inner side is the core of the complete magic process of photography.
I picture the images in my photography as metaphors. I find the quote by painter Jerzy Mierzejewski: “The visible allows us to reach the invisible” inspirational. The frames from daily life become the images of my spirit, thoughts, and mood.
Your work often is described as symbolic and refers to Chinese philosophy. Does it connect with reality and how you find your inspirations?
The main principle of my work is minimum form and maximum content. My photos are minimalistic and symbolic. However, the symbolism doesn’t refer to specific philosophies. The images are universal. A Japanese saying drives me in my work: “Simplicity leads to clarity.” I believe that I can compare the style of my work to Haiku in poetry.
Could you appoint an artist - someone who had the most considerable influence on your style?
I admire many photographers, but my style is a compilation of personal experience and experiments without imitating any artists. However, I keep myself posted with the work of great artists to admire them, but at the same time, to avoid copying the already implemented ideas. It’s crucial for me to develop my unique style.
The black and white rough pics and video clips by Anton Corbijn for Joy Division, Depeche Mode, and Nick Cave music, which I listened to as a teenager, definitely impacted my sensitivity.
Your photo ‘Man feeding the swans’ became popular recently and has been published by many newspapers and portals worldwide. Are you not afraid that your work will become associated only with this one picture and that other projects may not be as much appreciated?
A photographer often has a most recognizable photo – a symbol, which becomes the quintessence of their style. Indeed, “A man feeding swan in the snow” is the kind of photo that may stay this way. I don’t mind, as it captures perfectly the character and the way I perceive reality.
When we think about the most admired and popular photographers with extraordinary life work, we usually focus on a couple of best-known and popular photos, which doesn’t mean the photographer hasn’t captured any other beautiful images. “A man feeding swan in the snow” has been noticed worldwide, and I’m pleased about that. I have traveled around the world presenting the series of my minimalistic photos and talked with the visitors who recognize this particular photo. Most often, they share comments with me, like: “I recognize and like this photo (“A man feeding swan in the snow”), but I appreciate another one exhibited here.” It seems that other photos raise attention and positive feedback. Such photos as “Liberation,” “The United States of India,” or the complete series “Symbols” have been awarded at international photo contests. Their common feature is a coherent style and metaphoric message.
I’m sure that may be an invaluable opportunity if managed correctly. Now, two years after taking the significant photo, you can judge its impact on your career. Has it opened new possibilities for you, and if so, how are you planning to use them?
Recognizing “A man feeding swan in the snow” has helped me professionally. Although, nowadays, almost everybody has a camera, hardly any photograph reaches the awareness of people worldwide. I have had this privilege, and my photos have been published in newspapers, magazines and posted online worldwide. This particular photo and other symbolic minimalistic photos of mine create a coherent series exhibited in different parts of the world. I try to maintain their limited character, not a mass one. Thanks to the worldwide exhibitions, I re-discover my work. When I discuss my work with the exhibition visitors, I find out how different and varied their interpretations are. It’s utterly inspirational. This is something I’m focusing on right now. The rest will come along.
Could you tell me more about the project ‘Nieznany Krakow’ (Unknown Krakow)? It is a fascinating idea to create a portal that presents places and ideas about the city one may not find in the tourist guide. How did you start it? Are you still finding time and inspiration for the project, and will you develop it further?
The idea to start ‘Nieznany Krakow’ (Unknown Krakow) came naturally. When planning a trip, I often create an alternative guide about the destination. Usually, it’s about places not popular with tourists, unheard of, and not considered by famous publishers.
Krakow, the city I live in, has many places with unique atmospheres and remarkable inhabitants. ‘Nieznany Krakow’ is not only about unique venues but also a not-so-very-typical view of the places already known to the public. It coordinates with my photography. I hardly ever await the shots in exotic and secluded spots. These would mainly be streets, bridges, and other places with many passers-by. I attempt to picture something that escapes their attention.
The key idea behind ‘Nieznany Krakow’ is to show the rareness and authenticity of this town and its inhabitants. It stops being important whether a camera or mobile takes the photo; it’s more about capturing the venue’s ambiance.
‘Nieznany Krakow’ operates mainly on Facebook, but this year I’d like to extend it to an English version if time allows. I’m negotiating some photo projects in connection with the project also international, so the idea of ‘Nieznany Krakow’ – a guide to places with a particular character will develop.
Considering everything you have said, you are on the right path to further expand your photographic career. Have you got any new ideas or directions you want to develop?
I’m currently concentrating on researching new places and patiently waiting for the desired shots. Additionally, I’m working on expanding my minimalistic series, which refers to symbolism. It gives me loads of excitement, inspiration, and fulfillment. I’m also working on a conceptual photo project. In addition, I will develop ‘Nieznany Krakow’ as it allows me to discover new places and meet new people. In this way, the surrounding reality becomes more exciting and more inspirational.
edited by Joani Hickman
Images courtesy of Marcin Ryczek. Click on the photographs to see description.
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I miss photography a lot. It's a different world behind the camera lens, and the dark room was once my comforting hangout place. I love the manual work of creating the photos, the mistakes that turn out to be creative gifts, chemical fumes, the almost-darkness I grew acquainted to, and Johny Cash in the background.
"Enthusiasm is the duty of understanding before the night fatal to remembrance." by Frederick Sommer, my most favorite and reverent photographer/artist.
