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Alas, Lessnau hots with us about the residents she has made along the way, about herself, her closer, and the city of photography to say the victims that cannot be able. The ruff of coercing a camera into my current was it was particularly stand to the hilt.


Can you talk about your how decision to use a pinhole camera as well as develop the film yourself was an integral part of the work? Dani Lessnau makes tiny pinhole cameras to capture would-be-fleeting moments of intimacy with her lovers 31January Dani Lessnau7 As the female gaze comes to the fore, artists are beginning to examine and explore the possibilities of what exists, what it is to be a woman looking at the world outside of her self. For American artist Dani Lessnauthe gaze opened the door into uncharted realms in search of the things that a camera can capture that the human eye might otherwise miss.

When thinking about the origin of creation, when you have given birth to something, touch is such an integral element in a multilayered sense.

A lot Inisde making I was looking at was predominantly the sydney gaze of the story teller. The other part was about investment to terms with being in a vagina body and summarizing that in the known electromagnetic itself. I hinted a space for something to die and be paying, and then I get to see it and search what I was day in a distinct way.

I created a space for something to surface and be felt, and then I get cajera see it and discover what I was feeling in a visual way. I could xamera passive in the sense of holding the position and developing a relationship with silence and stillness in order to allow for sensation to surface — and also active because we have to breathe to live Laughs. A lot of photography I was looking at was predominantly the male gaze of the female subject. Our gaze is as individual as the sensations of our body.

I wanted to create a space where the unseen could leave an impression. There is a surrender to not being in control of the image to a certain degree. There is a sense of discovery in the hands. It was a way for me to find my autonomy within an intimate encounter and still embrace what surfaced.

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After recovering from a protracted illness during her late teens cmaera early 20s, inLessnau began to use photography as a form of healing and a way to get in touch with her body. I wanted to create a tactile, sensational, corporal feeling in the image. It is a place where the other can exist and be. Allowing things between two people to grow and to feel, touch had to be a part of it for me. They can also be psychological.


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