21 march 2024, Pienk de Gaay Fortman
Satijn Panyigay: "The more sincere your art, the greater the gift"
Satijn Panyigay shows at Galerie Caroline O'Breen the extension of her soul in 'Nightcall' (2024). This new series is the result of her nighttime walks with her medium format camera, the Fujifilm GX680III, in the Utrecht area. Her photography is characterized by geometric compositions with light-dark contrast that, due to the absence of people, exudes a poetic-calm atmosphere. In this interview, Panyigay shares more about her creative process, thoughts and motivation: “The everyday, not screaming for attention, subtle moments of wonder are the most interesting to me.”
In Galerie Caroline O'Breen, you present your latest project 'Nightcall' (2024). How does this series compare to your previous work?
I have a fascination for architecture, empty interior spaces and how light works. I have photographed this for a long time and I have also worked with the night in the past. In this series, it all comes together. I have been guided by what attracted me, as I always do, and focus on abstractions that occur in reality. The major difference is that now I am no longer surrounded by the safety of walls, but I choose places where I am alone and feel safe, so I can (almost) relax and photograph.
Satijn Panyigay, Nightcall I-09, 2024, Galerie Caroline O’Breen
Why did you choose to specifically photograph the nighttime state of buildings in Utrecht?
It was not a conscious choice. I live in Utrecht and have moved my studio a few times. During the different routes home in the evening, I saw various beautiful illuminated places emerge in the darkness. Because I have been photographing indoors for so long, it took a while before I thought about photographing them. But at the same time, I felt the need to work more freely, to be able to go out without arranging permission, and to 'allow' myself to go outside. And that's how 'Nightcall' was born. I am now continuing the same project in Frankfurt, a city I visit regularly, with amazing buildings. So that will be 'part 2', with of course a slightly different character, because the city is so different.
There is a certain mystery behind your art. What photographic techniques do you use to enhance this mystery?
For the most part, I think this is due to the absence of people, combined with signals that indicate that humans have been or could still be there. Additionally, I photograph with an analogue medium format camera, and using film often adds a layer to the 'real world'. I also often photograph slightly underexposed. In post-production, I am very meticulous; I remove unnecessary noise from the images and extract warmth from the film to make the tones fit my aesthetic. I also spend a lot of time on presentation, choosing paper types, printing methods, sizes and framing that best convey each work.
Satijn Panyigay, Nightcall I-03, 2024, Galerie Caroline O’Breen
If you were to describe the relationship between the photography equipment and yourself, what kind of 'relationship' would it be?
Passionate partners in crime with a one-sided open relationship. My camera, a Fujifilm GX680III, is truly my 'companion'. No one else is allowed to photograph with it, but I also occasionally use the old cameras of my family and a large format camera. So far, I always come back to my great love.
In your work, you refer to the following quote from the scientist Blaise Pascal (1623-1662): "All of humanity's problems stem from man's inability to sit quietly in a room alone." How do you try to find peace amidst all the busyness?
That is exactly why I have photographed empty interiors for so long. Especially in museums, it is wonderful to walk around without sound and other external stimuli. Even the art, which normally demands your attention, is absent. That is unique and calming. And besides that, when you do something you love, you forget the rest of the world. That is what photography brings me. In my latest project 'Nightcall', I seek the same peace, but in the night on the streets.
Satijn Panyigay, Higher Ground II-04, 2022, Galerie Caroline O’Breen
As far as we can frame nowadays... your work can be placed within 'minimalist photography'. Are there minimalist photographers who directly inspire you?
I certainly have a number of photographers who create work that I enjoy and experience peace, silence and a certain melancholy in, such as Awoiska van der Molen and Dirk Braeckman. But I am mainly inspired by life itself. Being human and everything that comes with it, and everything I see around me. The everyday, not screaming for attention, subtle moments of wonder are the most interesting to me.
You recently released the publication 'VOID' (2023), published by Hartmann Books (Germany). A work of art in itself! How was the experience of creating this publication?
Thank you! I found the process both enjoyable and beautiful, as well as intensive and challenging. But ‘VOID’ is a beautiful result that I am extremely proud of. I truly think it is a beauty, and I owe a large part of that to the collaboration with designer Sybren Kuiper, who found the perfect form for my photos. The book invites you to sit down, due to the size of the fold-out pages and lets you wander and search as I have walked through the buildings shown. It couldn't have been more fitting for the content of my work. Now that it is here, I am glad that I persevered through all moments of doubt.
Satijn Panyigay, VOID (book), 2023. Published by Hartmann Books, Galerie Caroline O’Breen
What developments have caught your attention in photography over the past ten years compared to when you graduated?
To be honest, I am not really focused on that. There are certain trends and developments that I have no interest in - such as AI-generated images, with a few exceptions - and perhaps I have a slightly greater love for others who still work (partly) analog. But I simply follow what I find beautiful and live in the present.
What are your learning moments that you would like to share with fellow photographers who are still searching for their visual voice?
Joy and relaxation are my biggest motivators. If I do not feel that when photographing, nothing good will come out of it. Somewhere, a fire has to start burning, and you can 'simply' follow that. So, photograph a lot and reflect on it. It can help to discuss your work with a good coach, someone you feel comfortable with, who can help unravel what you are looking for. If you stay close to your own feelings, your work becomes more sincere and therefore more interesting. For yourself, because you explore yourself, but also for others who recognize themselves in you. The more sincere your art is created, the greater the gift to others.
Satijn Panyigay, Nightcall I-01, 2024, Galerie Caroline O’Breen
How do you hope to further deepen your artistry in the next five years; are there cherished dreams or do you want to enjoy the 'artistic journey' as much as possible in the present?
I do everything based on feeling and things have to kind of go organically. So, whatever attracts me, I will work with it. I am curious where life will lead me and how I can get closer to my own essence in my work. I certainly have dreams, but they serve more as vague destinations, and the path may be very different from what I can imagine now. But, although it is truly my dream job, I would not say that it is always 'enjoyable'. Being an artist is also very intense; you are constantly focused on your inner world and, in addition, you show the work you create about it to - and therefore also have it judged by - others. So, you can't escape yourself and that vulnerable part, but that's part of the deal.
‘Nightcall’ by Satijn Panyigay will be on display at Galerie Caroline O'Breen until 13 April 2024.
