Mariam Magsi is one of the most talented young artists that we have come across. She stems from a royal lineage that has a rich history of honour and hospitality. Her ancestors once saved the life of a fallen king, who then introduced Persian art in India. Being featured in world renowned magazines like Vogue Italia (Photo Vogue), we feel small writing a piece on her. She was born in Pakistan but lives in Canada and has worked all around the world.
Q. When were you born?
I was born in Karachi, Pakistan on the 30th of September, 1985.
Q. When did you start to shoot?
My parents were very encouraging when it came to art, theatre and creativity in
general. Honing creative skills, whether musical or visual was a key part of
growing up. I had a bunch of point and shoot film cameras gifted to me on
various birthdays and I still remember constantly shooting the most mundane
and stagnant of things. While most people were focusing on group shots and
portraits, I would creep up into my father’s ear and snap pictures of his ear
lobes while he slept. I didn’t think too much of it, back then, really. When I
ventured out to Canada to do my undergrad at the prestigious University of
Toronto, I stumbled into a Digital Photography class in the third year of my
program. There was no turning back. While I did not abandon the paintbrush, I
did pay less and less attention to it, embracing instead, the world of
photography and post-processing. I can recall my first photographic project
quite vividly. Suicide bombs, Benazir Bhutto’s assassination, Islamophobia and
terrorism engulfed the air so I began to research and explore these themes in
relation to my work. One of my first photographs to be exhibited was of a
woman in a niqab with a gun to her head, her defiant and rebellious gaze
piercing through the soul of the viewer; confrontational and controversial. To
understand the technical world of photography better I enrolled in a postgraduate
photography program at George Brown College. While I commend and
respect self taught photographers, personally, I require face-to-face instruction
and personalized attention. My professors have played an extensive role in
developing and enhancing my work and to them I am ever grateful. From
finalizing concepts to connecting me with some of the best curators and art
galleries in the city of Toronto, they have stood behind me with adamant
support. Over the course of the last few years I have dabbled with portraiture,
fashion editorials, fine art photography, observation, travel journalism,
landscapes, minimalism and conceptual shoots.
Q. What inspires you?
I have a staunch morning ritual. Upon awakening after I have freshened up and
meditated, I visit several websites and blogs featuring classic and contemporary
photography by timeless masters as well as emerging photographers. It is
crucial to expose yourself to as much work as you can, because that is the
optimum way to understand who your competition is, what inspires you and
what you want to achieve through your own work. Some work makes a
statement, while other work poses a question. A body of work can also be mere
observation. I may look at war photography by James Nachtwey and then jump
to Erik Johansson whose work is the complete opposite. One element that unites
these photographers is their unique style and vision. I aim to reach their level of
expertise and skill, while finding my artistic voice and emerging with my own
style. Apart from material that is readily available online, I enjoy reading books
pertaining to photography with Susan Sontag being one of my favourite authors.
She writes about the subject beautifully. Within the confines of my loft I
surround myself with contemporary sculptures, paintings and ceiling to floor
glass windows that let ample light in creating shadows, shapes and patterns on
my walls. Once outside, I have trained my brain to focus on everything.
Walking on the streets is essential for the artistic growth of my mind. I can
observe reflections in puddles, the textured metal surfaces of sewer coverings,
graffiti, concrete walls, divisions between sky and ground and finally, people.
People watching is one of my favourite past times. I tell stories, both with
words and visuals, so it is important for me to observe people within their
environments and social contexts. I am curious about where they have come
from, where they are going, what emotional baggage they carry on their
shoulders and though you cannot judge a book by it’s cover, you’ll be amazed
at how much facial expressions and body language gives away. In other words,
I seek and find inspiration in virtually anything and everything around me.
Q.According to you what’s your best shoot?
I am my own worst critic, as is the case with most artists. More often than not I
need to walk away from my work and have it shown to visionaries and experts
who can provide honest feedback and constructive criticism. While I cannot
point out a particular shoot, I will say that I am happiest when I am documenting
social work in developing countries. I began volunteering and working with
International Volunteer HQ a couple of years back when going through an
existentialist phase. “Why am I here?” “What is my purpose in life?” These
questions were nagging me tirelessly. So I packed a bag and flew off to
Cuernavaca, Mexico City to teach English to children from low-income families
while living with a host family and learning about Mexican culture. Since that
life-changing and humbling experience, I have worked with orphans, families
and natural disaster survivors in Peru, Dominican Republic, Pakistan and Cuba.
In the future I would also like to be more involved with environmental
conservation in many more countries around the world. Through social work I
have managed to see the most authentic and unfiltered sides of cultures and
ways of life ranging from shamanic tribes, farm life, rural villages and slums.
This journey has given me the opportunity to photograph places and people I
never imagined I would ever have had the honour of seeing.
Q. Any regrets?
I have no regrets in life. I welcome mistakes as they turn into lessons that
contribute to growth and progress. It does pinch my heart to be away from
family, halfway across the world, but they understand my purpose in life, as do
I.
Q. Any advice for new talent?
If you are passionate about something, giving up should not be an option. Look
at this world with new eyes, your eyes, and use your vision to bring us unique
imagery. No matter what your subject, whether for school or a commissioned
project, never ever approach it with a half-hearted attempt as what you put into
the work is what will be projected to your viewers. I also encourage fellow
emerging photographers to remain students, because in this field, learning
never ends. Equipment, software and techniques will keep changing and the
only way to keep up with this rapidly shifting photography world is to learn as
much as we can about it. If one is restricted due to limited funds or
geographical handicaps, the online world offers a wide array of courses, free
workshops, tutorials and essays on photography and various other creative
subjects. Always observe and learn from other photographers whether in your
country of residence or abroad and put your work out there on social media,
blogs and websites. The more feedback you get, the more improvement you
will see in your work, but also remember, that you cannot please everyone, so
there comes a point when you have to be assertive with your artistic vision,
regardless of how controversial it may be.
Q. With new clickers popping everyday, where do you see your industry in the
next decade?
In my opinion and from what I can observe in this day and age, viewer based
content is being given utmost importance and priority. Many influential and
leading magazines and forums have let go of their professional staff, turning to
content generated by their readers, viewers and fans. On the one hand this is
great because it makes the photographic world accessible, relate-able and less
intimidating but on the other hand it undermines and devalues years of practice,
education and knowledge acquired by professional photographers working very
hard at their jobs. One thing is for sure, photography and the power of the
visual image will never fade away and now more than ever with the advent of
social media, our world relies on visual images for access to people, places,
moments and events. I can see technology advancing exponentially enabling
individuals to take unforgettable photographs with great precision and quality.
The world can be achieved, captured and released with the click of a button.
That is an incredible mark of progress by us humans and I am glad to live
through this advancement.
Q. What makes a good photograph?
I will not say composition, framing, depth of field, tone or white balance
because these are technical details every skilled photographer is aware of, or at
least I would hope. What makes a photograph, a good one at that, is the soul
you breathe into it with your aesthetic vision, sensitivity to subject and
dedication.
Contact Details
Email: mariammagsi@gmail.com
Fb: https://www.facebook.com/mariammagsi.art
Born in Pakistan. Made in Canada.
Q. When were you born?
I was born in Karachi, Pakistan on the 30th of September, 1985.
Q. When did you start to shoot?
My parents were very encouraging when it came to art, theatre and creativity in
general. Honing creative skills, whether musical or visual was a key part of
growing up. I had a bunch of point and shoot film cameras gifted to me on
various birthdays and I still remember constantly shooting the most mundane
and stagnant of things. While most people were focusing on group shots and
portraits, I would creep up into my father’s ear and snap pictures of his ear
lobes while he slept. I didn’t think too much of it, back then, really. When I
ventured out to Canada to do my undergrad at the prestigious University of
Toronto, I stumbled into a Digital Photography class in the third year of my
program. There was no turning back. While I did not abandon the paintbrush, I
did pay less and less attention to it, embracing instead, the world of
photography and post-processing. I can recall my first photographic project
quite vividly. Suicide bombs, Benazir Bhutto’s assassination, Islamophobia and
terrorism engulfed the air so I began to research and explore these themes in
relation to my work. One of my first photographs to be exhibited was of a
woman in a niqab with a gun to her head, her defiant and rebellious gaze
piercing through the soul of the viewer; confrontational and controversial. To
understand the technical world of photography better I enrolled in a postgraduate
photography program at George Brown College. While I commend and
respect self taught photographers, personally, I require face-to-face instruction
and personalized attention. My professors have played an extensive role in
developing and enhancing my work and to them I am ever grateful. From
finalizing concepts to connecting me with some of the best curators and art
galleries in the city of Toronto, they have stood behind me with adamant
support. Over the course of the last few years I have dabbled with portraiture,
fashion editorials, fine art photography, observation, travel journalism,
landscapes, minimalism and conceptual shoots.
Q. What inspires you?
I have a staunch morning ritual. Upon awakening after I have freshened up and
meditated, I visit several websites and blogs featuring classic and contemporary
photography by timeless masters as well as emerging photographers. It is
crucial to expose yourself to as much work as you can, because that is the
optimum way to understand who your competition is, what inspires you and
what you want to achieve through your own work. Some work makes a
statement, while other work poses a question. A body of work can also be mere
observation. I may look at war photography by James Nachtwey and then jump
to Erik Johansson whose work is the complete opposite. One element that unites
these photographers is their unique style and vision. I aim to reach their level of
expertise and skill, while finding my artistic voice and emerging with my own
style. Apart from material that is readily available online, I enjoy reading books
pertaining to photography with Susan Sontag being one of my favourite authors.
She writes about the subject beautifully. Within the confines of my loft I
surround myself with contemporary sculptures, paintings and ceiling to floor
glass windows that let ample light in creating shadows, shapes and patterns on
my walls. Once outside, I have trained my brain to focus on everything.
Walking on the streets is essential for the artistic growth of my mind. I can
observe reflections in puddles, the textured metal surfaces of sewer coverings,
graffiti, concrete walls, divisions between sky and ground and finally, people.
People watching is one of my favourite past times. I tell stories, both with
words and visuals, so it is important for me to observe people within their
environments and social contexts. I am curious about where they have come
from, where they are going, what emotional baggage they carry on their
shoulders and though you cannot judge a book by it’s cover, you’ll be amazed
at how much facial expressions and body language gives away. In other words,
I seek and find inspiration in virtually anything and everything around me.
Q.According to you what’s your best shoot?
I am my own worst critic, as is the case with most artists. More often than not I
need to walk away from my work and have it shown to visionaries and experts
who can provide honest feedback and constructive criticism. While I cannot
point out a particular shoot, I will say that I am happiest when I am documenting
social work in developing countries. I began volunteering and working with
International Volunteer HQ a couple of years back when going through an
existentialist phase. “Why am I here?” “What is my purpose in life?” These
questions were nagging me tirelessly. So I packed a bag and flew off to
Cuernavaca, Mexico City to teach English to children from low-income families
while living with a host family and learning about Mexican culture. Since that
life-changing and humbling experience, I have worked with orphans, families
and natural disaster survivors in Peru, Dominican Republic, Pakistan and Cuba.
In the future I would also like to be more involved with environmental
conservation in many more countries around the world. Through social work I
have managed to see the most authentic and unfiltered sides of cultures and
ways of life ranging from shamanic tribes, farm life, rural villages and slums.
This journey has given me the opportunity to photograph places and people I
never imagined I would ever have had the honour of seeing.
Q. Any regrets?
I have no regrets in life. I welcome mistakes as they turn into lessons that
contribute to growth and progress. It does pinch my heart to be away from
family, halfway across the world, but they understand my purpose in life, as do
I.
Q. Any advice for new talent?
If you are passionate about something, giving up should not be an option. Look
at this world with new eyes, your eyes, and use your vision to bring us unique
imagery. No matter what your subject, whether for school or a commissioned
project, never ever approach it with a half-hearted attempt as what you put into
the work is what will be projected to your viewers. I also encourage fellow
emerging photographers to remain students, because in this field, learning
never ends. Equipment, software and techniques will keep changing and the
only way to keep up with this rapidly shifting photography world is to learn as
much as we can about it. If one is restricted due to limited funds or
geographical handicaps, the online world offers a wide array of courses, free
workshops, tutorials and essays on photography and various other creative
subjects. Always observe and learn from other photographers whether in your
country of residence or abroad and put your work out there on social media,
blogs and websites. The more feedback you get, the more improvement you
will see in your work, but also remember, that you cannot please everyone, so
there comes a point when you have to be assertive with your artistic vision,
regardless of how controversial it may be.
Q. With new clickers popping everyday, where do you see your industry in the
next decade?
In my opinion and from what I can observe in this day and age, viewer based
content is being given utmost importance and priority. Many influential and
leading magazines and forums have let go of their professional staff, turning to
content generated by their readers, viewers and fans. On the one hand this is
great because it makes the photographic world accessible, relate-able and less
intimidating but on the other hand it undermines and devalues years of practice,
education and knowledge acquired by professional photographers working very
hard at their jobs. One thing is for sure, photography and the power of the
visual image will never fade away and now more than ever with the advent of
social media, our world relies on visual images for access to people, places,
moments and events. I can see technology advancing exponentially enabling
individuals to take unforgettable photographs with great precision and quality.
The world can be achieved, captured and released with the click of a button.
That is an incredible mark of progress by us humans and I am glad to live
through this advancement.
Q. What makes a good photograph?
I will not say composition, framing, depth of field, tone or white balance
because these are technical details every skilled photographer is aware of, or at
least I would hope. What makes a photograph, a good one at that, is the soul
you breathe into it with your aesthetic vision, sensitivity to subject and
dedication.
Contact Details
Email: mariammagsi@gmail.com
Fb: https://www.facebook.com/mariammagsi.art
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