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Ilkka Uimonen has been a photographer since the early 90’s. He was working in a pub in London when he found his first camera. he has been a loyal practitioner of photography since that day. As his career developed, Uimonen forged his own style and interpretation of what photography should be. Uimonen pursues a visual engagement with the world in a unique way. His capacity to both question and unravel psychology and emotions in the image is singular. As one of the most effective photographers in the first decade of the 21st century with scorching visions of Afghanistan, Iraq, Israel/Palestine, China, USA and numerous other places, Uimonen has departed from the classic representations of moment to engage in a visual dialogue with the momentous in a thoroughly original manner,one in which the pictures he makes take the viewer on an illuminating journey that feverishly echoes a sense of place and meaning in creative ways. His ongoing work include “the Book of Arguments (a War Story: the war against the terror, summer 2018 by Twin Palms) ” and METROPOLIS, a series of ongoing essays that started in China and continues to New York and London, with plans to include Mumbai, Sao Paolo and other vast cities (a multilayered and penetrating visual escapade that challenges conventional photography and at the same time yields an astonishing universal vision). The world is a more intriguing and fascinating stage to consider when Ilkka Uimonen contributes to our sense of it’s image.

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I prefer to work, in photographic layers, in order to see the progression of visual registration of any given subject. I often copy my photographs so therefor I create a new surface that will detach my subjects from the early edits as a mere registrations of reality. I see Photography as pure medium to capture form and human conditions, in 3 dimensional light backed theater that the camera, sees and registers, I consider this as photographic process. There are multiple ways of describing photography, but the one that I have accepted remains mine, copies of life it self. This to say will not happen with out the photographers, and the stories that the any given photographer has decided to photograph. I fully accept that the facts of both, the presence of me as a photographer and the surrounding of the subject are somewhat interdependent, because I am there as a photographer interpreting it. I trust my self as a human contact in regard, of subject that encounters me while I copy their form as well as a form of their surrounding. To say this, I mean the human aspect of the procedure where after the subject matter is described for possible exhibits and published print, such as books and magazines..