WAER TALKS TO ARAM TANIS

"You can achieve nothing in art unless you are free of received ideas. You have to work out your own position, your individual point of view. And keep this before you, like the apple of your eye, all the time you are working."

- ANDREI TARKOVSKY

As a photographer, I sometimes catch myself taking photos I've seen before. When this happens I can’t help but feel disappointed, these images are not mine and mean nothing to me personally. I am still grateful as these moments make me ponder what my perspective truly is. Luckily I had the pleasure of discussing these feelings with Aram Tanis, also known as Ji Hyun Song in his Korean mother tongue. He’s a photographer and writer with more than twenty years of experience creating exclusively personal work. This interview serves as a small reminder that a commercial avenue is not your only option as a photographer.

AUGUSTE VAN YSSELDIJK: What first attracted you to photography?

AT: In elementary school a lady came by to teach some photography and dark room lessons. I remember seeing the image appear and thought that it was a magical moment. I’ll always remember that. And so, when I was 20 and wondering what I should do after a year of teacher training college which I hated, I thought about that magic moment. So I enrolled in a photography course. I liked it, and my teacher suggested I apply to the art academy in The Hague. I was accepted so he told me to also try at the Rietveld Academy in Amsterdam, which for me was like the top bachelor academy for art. I was accepted and that was the start of my photography.

AY: What was your first exhibition like ?

AT: In 2004, after the Rietveld Academy I went to De Ateliers, which is like a master level in Amsterdam. When I was there in my first year, I got a group exhibition at the Frankfurter Kunstverein. That was really my first real big show with some big names. It was also my first show outside of the Netherlands so that was a very nice moment.

AY: Are there any reactions to your work from the public that stayed with you?

AT: I think people liked it. I remember some said that my work stood out to them. I don't know exactly why, but photos of mine also appeared in local newspapers. It was interesting for me as I just started, so it was nice to have some momentum. I think the best thing about it was that when you are studying you hope that something happens after, so it's exciting when it happens during.

As an artist, you're always thinking, okay, what's next? Will I get an offer? I see that's changing now. Artists back then felt very dependent on curators to do expositions. I think nowadays, artists increasingly organize amongst themselves which I see as a good thing because we are the ones creating the work. So it's nice if you find a community for yourself like what you're doing with WAER. I think it’s very important that you do your own thing because it gives you more energy, and I think it should be fun, it's important to take it seriously but remember that it should also be fun.

AY: Did you fall into a rhythm as to how you would come up with a new project or a new subject?

AT: After that exhibition, yes. It was quite easy because then I was very busy with Korea, my origins and adoption as my main themes. I focused on this for several years until I felt I had fully explored these subjects.

Afterward, it took some time to find a new direction. Since I work independently, I need to choose topics I feel genuinely passionate about. There are periods when I photograph less. Instead, I watch documentaries, listen to music, read novels and poetry to seek inspiration, especially when I’m unsure what my next subject will be. Inspiration comes in waves; it’s never constant. A career moves in the same rhythm; you might have an exhibition, then nothing for a couple of months, and suddenly everything becomes very busy again.

AY: Given the personal nature of your work, how is it generally received?

AT: It's mixed, some people really appreciate the honesty, but my work doesn't look very flashy so that sometimes can also work against me. People understand when they take the time to look at my images or read what I wrote. In those cases I get some really great responses. They tell me that they felt moved by it. I think people know when you're honest and will see through you when you lie by creating something that isn't true to yourself.

AY: Do you work with an audience in mind?

AT: No, it's just me creating my work and then I hope other people will respond, but I cannot do it for somebody else.

AY: Then by that logic the work is only done when you're satisfied with it.

AT: Yeah, and sometimes it takes a year. Or when I think I'm finished with it and then a few years later, I look at it and think, oh, I could add something or make it better, then I change it.

AY: Do you feel like you process your emotions through your work?

AT: Yes, and I also feel that when I use an emotion in my work, then it becomes useful. I don't know if it makes sense. I mean, you can feel all kinds of things, but when you put it into a work, then you have the power to turn it into something good.

For example, when I went looking for my biological mother, I was told she was found, but she didn't respond to any of my letters, which was initially quite disappointing. But then when I turned it into a work, it became something positive. So you turn something negative into something positive. No matter the emotion, if I can use it for my work, then it's good.

AY: What are you currently working on?

AT: My latest work is called “North of The Fortress, South of The Forest.” This is the series I created after I finally found my biological mother. It's still a work in progress for which I'm also writing a text. I also want to incorporate my little son into it but I'm not sure how because I want to protect his identity. I suppose It will be about my journey of becoming a father, and my experience trying to find her.

AY: Do you know for a fact that a major event, like the birth of your son will show up in your work?

AT: Yes, as an adoptee I’m very aware of having a child as he’s the first biological relative of mine I’ve ever met. So it has quite a big impact, which took time to understand. I did two artist gatherings where I talked about adoption and as I was speaking I became aware of things I hadn't considered. It's quite interesting what effect it has had on my life and my art.

So yeah, I still have to find out more about it and how to incorporate him in my work. I think in that sense, what I'm always trying to do is make something personal that includes a more universal theme. Or at least I want to make this work in a way that allows somebody who's not adopted to still relate to it.

AY: Seems tricky…

AT: Yeah, that's why it will take a long time.

Words AUGUSTE VAN YSSELDIJK

Images ARAM TANIS

Date 9/1/2026

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