Category Archives: photography

Reconciling the Holidays 2016

Reconciling the Holidays 2016

Whether one celebrates Christmas, Hanukkah or any other festive holiday, this time of year brings up emotions. As my father left his physical body on Christmas, it’s a particularly reflective time for me. Whether we are with family or friends exchanging gifts or having meals together, the holidays are meant to be a time for celebration.

As I am driving south on the 101 to work, I notice an increase in the amount of homeless living on the side of the freeway than four years ago, when my work required increased time spent driving to downtown Los Angeles. I see a makeshift toilet, battered and ripped tents & frayed blankets next to people’s “homes” and I can’t help but wonder what it must feel like to be living in the rain, during the holiday season, with no home.

© hannah kozak

San Pedro Street

© hannah kozak

She was walking up and down San Pedro Street in the pouring rain.

We are shooting nights downtown and the pounding of the rain begins just as all the gear needs to start the move to the filming location from the base camp. I find the rain magical but can’t help but think of the people on the streets. In the morning after “wrap” has been called, when the sun has risen and I can wander alone, I hang my camera on my left shoulder, as I have been doing since I was 10 years old. I hang a Trader Joes bag filled with food on my right shoulder as I walk with my orange umbrella. I begin to walk the streets around San Pedro near 10th street, as I have to stay close to the location.

I meet Jeffrey who tells me “I’m doing the best I can” and “It is what it is” and manages a genuine smile. I offer him some food and he is so very grateful.

© hannah kozak

Jeffrey

Next I stop to speak to Cheryl, a woman pushing a shopping cart down 11th Street. She tells me “my husband beat me up.” And she has lupus and cancer. When she shares with me that she was in a relationship where she was abused, I immediately open up and tell her my mother was too. “I’m doing my own thing” she says and asks me if I have any chocolate. “I knew someone would want chocolate” I think to myself and reaching into my bag, I find the chocolate bar I added to my stash and hand it to her.

© hannah kozak

Cheryl

I speak to Ernestine, who has four children: Tamisha, Latary, Laterrier, & Tomika. It’s challenging to understand everything she is saying but she thanks me for the food as well.

© hannah kozak

Ernestine

There is so much suffering in the world and I am pondering how to reconcile that some of us live in abundance with magic all around. Yet how do we remain grateful and happy, knowing people are in pain or even anguish? People right near by. People that I see sleeping on & walking down 7th Street as the van shuttles crew members from base camp to set.

It’s a corrosive attitude to think of the homeless as others. The only thing I can do at this very moment is to take action and hand out food to the different people I meet as I walk along the streets, as the rain is coming down heavy on all of us. “Feed each other” – Yogi Bhajan, master of Kundalini yoga and my spiritual teacher, taught us. There is a spiritual imperative in my belief system that says help others. So, that I do. When I’m home in bed later that evening, I feel blessed and content that I could help a few people today during my work day.

@ hannah kozak

Downtown Los Angeles.

Reconciling the Holidays 2016

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4th edition of the Biennial of Fine Art and Documentary Photography – Berlin Foto Biennale 2016

4th Edition of Biennial of Fine Art & Documentary Photography

Throughout October 2016 Berlin welcomes once again the largest German festival for photography–the 7th European Month of Photography. The Grand opening of the 4th Biennial is at the elegant Palazzo Italia, situated in the historic heart of of Berlin as Associated Partner of the EMOP Berlin the first edition of the Berlin Foto Biennale.

© hannah kozak

Olivia always finds her way!


I have the honor of being one of the finalists in the 7th Edition of the Julia Margaret Cameron Award for Female Photographers in the Nude and Figure category. One of my photos from my Pain and Loneliness series was chosen to be on exhibit.

@ hannah kozak

Pain and Loneliness 33

I’m also honored to be included in the special section about the Holocaust and Second Generation with works by Aliza Augustine, Hannah Kozak, Sebastian Holzknecht, Beth Bursting, Vienne Rea and Quyen Pfeiffer. I was also given the honor of 1st prize documentary photo from the series He Threw the Last Punch Too Hard and 1st prize children’s category. Show opened on October 6, 2016 and will run through October 30.

@ hannah kozak

Auschwitz-Birkenau, Belzec, Sobibor Triptych
by hannah kozak.

Five of my images from my ongoing series–He Threw the Last Punch Too Hard were finalists in the 8th Edition of the Julia Margaret Cameron Award.

@ hannah kozak

He Threw the Last Punch Too Hard

@ hannah kozak

He Threw the Last Punch Too Hard

@ hannah kozak

He Threw the Last Punch Too Hard

@ hannah kozak

He Threw the Last Punch Too Hard

© hannah kozak

He Threw the Last Punch Too Hard

Here are some other photographer’s works from the Binnial 2016.

© hannah kozak

Marea Reed, Australia
Mareareed.com
Cooling the Blood, 2014

Mareareed.com

© hannah kozak

Boguslaw Maslak,
bobbyart.com
United Kingdom
Spirit of Ganges, 2013

Bobbyart.com

© hannah kozak

Isabel Karl-Herunter
Austria
Back to Paradise, 2014

© hannah kozak

Marilyn Maxwell,
United States
MarilynMaxwellphoto.com
Long Reach, 2014, Tanzania

Marilynmaxwellphoto.com

© hannah kozak

Chris Scavotto

© hannah kozak

Aline Smithson,
Alinesmithson.com
Lucy in Turquoise, 2013

Alinesmithson.com

© hannah kozak

Sebastian Holzknecht,
sebastianholzknecht.com
Jacek, from the series “Not Guilty”

sebastianholzknecht.com

© hannah kozak

Andrea Star Reese,
United States
Andreastarreese.com
Disorder 01, 2010

andreastarreese.com

©hannah kozak

Steve McCurry,
Walking on High Ground, Bangladesh, 1983

© hannah kozak

Karmen Corak, Italy
CL1, 2014, Spain

https://www.facebook.com/karmen.corak

4th Edition of Biennial of Fine Art & Documentary Photography


Warsaw in Winter part two

Warsaw in Winter part two

Photography is a meditation for me. After spending time working on set surrounded by a crew of nearly one hundred people twelve hours a day, for months, I find that photography allows me quiet to recharge my soul. I cannot tidy up my father’s past: I am in Poland to continue my project on the eight forced labor camps he was in. But, before I begin my work, I allow myself to wander about Warsaw; one of my favorite cities in Europe.

© hannah kozak

Old Town in Warsaw, Poland
1/280 sec @ f 2.8, ISO 800 23.4mm

© hannah kozak

Fuji X-T1, 16mm,
1/280 sec @ f 2.8, ISO 800

@ hannah kozak

Fuji X-T1, 16 mm
1/125 sec @ f 2.8, ISO 800

@ hannah kozak

Fuji X-T1, 16mm
1/125 sec @ f 2.8, ISO 800

@ hannah kozak

Fuji X-T1, 16mm
1/450 sec @ f 2.8, ISO 800

@ hannah kozak

Fuji X-T1, 16mm
1/450 sec @ f 2.8, ISO 800

@ hannah kozak

Fuji X-T1, 17mm
1/600 sec @ f 2.8, ISO 800

Fuji X-T1, 35.3 mm 1/450 sec @ f 2.8, ISO 800

Fuji X-T1, 35.3 mm
1/450 sec @ f 2.8, ISO 800

The oldest part of Warsaw is Old Town; bounded by the bank of the Vistula river along with Grodzka, Mostowa, and Podwale Streets. I made these photos while wandering through the heart of the area which is Old Town Market Place. From the surrounding streets I saw medieval architecture while the area is full of restaurants, cafes and shops. And, wherever I travel, I plan on visiting UNESCO’s list of World Heritage Sites; and Warsaw is one of them. More than 85% of Old Town was deliberately destroyed by Nazi troops during the war. Warsaw is a near-total reconstruction of a span of history from the 13th to the 20th century. I love watching people while walking around.

@ hannah kozak

Fuji X-T1, 17.6 mm
1/250 sec @ f 2.8, ISO 6400

@ hannah kozak

Fuji X-T1, 24.2mm
1/15 sec @ f 6.4, ISO 400

The Holocaust committed by the Nazis turned this country, where most of the European Jews used to live and where their culture used to flourish, into a massive grave. This is why initiatives to revive Jewish culture in Poland is so important.

Marek Belka

Warsaw in Winter part two


Warsaw in Winter

Warsaw in Winter

Traveling to Poland for Christmas was a decision I made for a few distinct reasons. One, it was a postmortem readjustment to my father’s death. I had been to Poland before, both times in the spring, in May but I wanted to have the winter light in my photos on this trip. I wanted to feel the deathly cold winter of Poland, like my father did.

I went to Poland to continue my documentary on my father, a survivor of eight Nazi forced labor camps. Because my father passed away on Christmas, I wanted to awaken in his country, on the third anniversary of his death, to help me deal with a grief too deep for tears while simultaneously feeling a near-umbilical attachment to this country I love, a country with a past filled with too much sadness to ever understand.

© hannah kozak

I arrived on Christmas Eve. After a Polish man kindly helped me figure out how to buy a bus ticket from the ticket booth (I’m not a fan of cabs) I sat on my bus seat, staring out of the windows for a familiar site. When I exited at Warsaw University, I had the surprise of seeing purple and white holiday decorations– instead of the customary red and green in Los Angeles– leading into Old Town, where I like to stay. The location opening on Castle Square overlooked the Vistula River and granted a stunning view of Old Town. I heard the bell chimes of the Royal Castle, which was rebuilt only thirty years ago after being destroyed by the Nazis during WWII. In my small, quiet hotel room, I have a desk to write at as well as two bay windows to look out of where I photographed the view of the Vistula River and the changing light, throughout the day and night.

© hannah kozak

Krakowskie Przedmiescie & Plac Pilsudskiego, Warsaw

© hannah kozak

View of Vistula River in Old Town
Fuji XT1 w/16-55mmF2.8 LM WR

© hannah kozak

Old Town – Warsaw, Poland
Fuji XT1 w/16-55mmF2.8 LM WR

I was in so much anguish on this third trip to Poland. My cat Jackson died suddenly three days after I arrived in Warsaw and I was alone in my hotel room. “No! No! No!” I screamed, in part because I was in shock and in part because I thought I could undue it all. I didn’t want to leave my hotel room yet I also needed the freezing cold air of Warsaw to help me breathe as I avoided making eye contact with strangers. I felt so useless to Jackson that all I could do was chant. I had left him at the vet and that was the last time I saw him. I was processing regret at leaving my companion with a specialist that I didn’t know but who said he would heal my little friend. My pain was profoundly humbling. The only thing I could come up with to self soothe was mantra so I played it nightly.

The state of grief continued as I traveled through Poland, seeing and experiencing Poland, in that emotional state. Something about the death of Jackson helped me get in touch with my father’s tremendous losses. Grief is grief and it colors everything.

© hannah kozak

Jackson – 3 days before he passed.

Jackson brought me infinite joy. I loved the sound of his paws hitting the hard wood floors in the morning as he and his brother ran to the kitchen, eager for breakfast. He used to plead with me to let him go outside and only liked being hugged on the futon in the television room. He’s gone but the memories of him will stay with me like a faded photograph.

@ hannah kozak

Michael & Jackson – 1 Nov 2011

@ hannah kozak

M & J – 17 Nov 2011

© hannah kozak

M & J – 16 April 2012

© hannah kozak

Michael and Jackson – 22 May 2012

© hannah kozak

Jackson & Michael – 4 Jan 2013

I experienced grief and joy simultaneously at retracing my father’s footsteps through war torn Poland as I mourned the loss of my friend and didn’t sleep well for eight nights.

Prior to World War II, Warsaw was the leading center of secular Jewish culture in Eastern Europe. At one time, only New York had a larger Jewish population. I could imagine the diverse vitality of Jewish life here. From Warsaw’s turbulent history to the beauty of the rebuilt city, I was inspired. From the hot bowls of soup served with fresh baguettes to the sound of the language I don’t understand but resonate with, to the architecture of Gothic buildings made of brick and to cathedrals made of stone and Romanesque architecture and the kindness from strangers I am repeatedly impressed with, Poland has a piece of my tired and hurting heart.

On a side note, I was able to put the Fuji XT1 to use. This is a photographer’s camera and one of many cool features, it is weather resistant, which helped a lot in the cold of Poland. It’s responsive and I’m impressed with this mirrorless camera. There was no giant learning curve, it’s as intuitive as my Nikon FM from back in the 1980’s. No more lugging around DSLR’s.

© hannah kozak

Old Town, Warsaw
Fuji XT1 w/16-55mmF2.8 LM WR

© hannah kozak

Warsaw, Poland
Fuji XT1 w/16-55mmF2.8 LM WR

© hannah kozak

Warsaw, Poland
Fuji XT1 w/Fujinon XF16-55mm F2.8 R LM WR

© hannah kozak

Warsaw, Poland
Fuji XT1 w/XF 16-55mm F2.8 R LM WR

@ hannah kozak

My favorite restaurant for soup and bread.
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

@ hannah kozak

Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

 © hannah kozak

Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

© hannah kozak

I love getting around Poland via buses & trains.
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

© hannah kozak

Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

© hannah kozak

Dusk in Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

© hannah kozak

Directly outside Old Town in Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

 © hannah kozak

Fantastic walking guides in Warsaw, Poland.
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

© hannah kozak

Children in Old Town; Warsaw, Poland
Fuji XT1 w/Fujinon 16-55mm F2.8 R LM WR

© hannah kozak

Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55 mm F 2.8 R LM WR

© hannah kozak

Warsaw, Poland
Fuji XT1 w/Fujinon XF16-55 mm
F2.8 R LM WR

© hannah kozak

Self Portrait en route to Museum of the History of Polish Jews – Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55 mm F2.8 R LM WR

© hannah kozak

Old Town – Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55 mm F2.8 R LM WR

© hannah kozak

Warsaw, Poland.
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

@ hannah kozak

Self Portrait at my favorite place to stay in Warsaw: Dom Literatury.
Fuji XT 1 w/Fujinon XF 16-55 mm F2.8 R LM WR

© hannah kozak

Old City – Warsaw, Poland
Fuji XT1 w/Fujinon XF 16-55mm F2.8 R LM WR

It has been said that Poland is dead, exhausted, enslaved, but here is the proof of her life and triumph.
Henryk Sienkiewicz

Warsaw in Winter


Why I’m Lighting Yahrzeit Candles on Christmas – My Father’s Hands & Feet

Fine Art Photographer shares intimate moments from death

W. Eugene Smith said photographs can summon enough emotion to be a catalyst to thought. A writer writes about someone’s struggles as an act of compassion and caring.  Giving shape to something painful helps us to process our grief by sharing it. Sharing words and photos decreases the burden we are carrying. By sharing my feelings and photos, perhaps I reach another person who is or has carried the burden of grief. Just as I take refuge in travel, I find healing in sharing. Author Dorothy Allison said if you don’t break out in a sweat of fear of what you write, you have not gone far enough. This one made me sweat.

My father began to leave his physical body after only two nights in the hospital. His last request was a black bean burrito, no guacamole, from Poquito Mas. I brought it to him for lunch, not knowing that it would be his last meal. Watching my father die in a sterile hospital seemed like a privilege compared to how his entire family was killed at Auschwitz and Treblinka by gassing.I felt blessed I could have the opportunity to mourn my father in a way he never could mourn his family in Poland, because he never saw any of their bodies after they were killed.

I was witness to the process of his body shutting down. At any given moment, either one or more of my brothers was in the room or my sister or niece, nephew, and the endless stream of nurses with machines to keep checking him so billing could continue even after he was heading through the astral plane. My sister refused to leave because he asked her not to leave him alone. She slept in the bed next to his. I would go home to sleep and no matter when I returned, she was in the room.   As my sister held his hand, I was pained by the thinness of his skin. I kept caressing the paper-thin skin on his arm, as if my rubbing could keep his arm from bleeding more. I had one-way conversations with my father. I kept telling him it was okay for him to go to G-d. I knew he could hear me.

As I always did in life, I continued to make photos as his death was imminent. The process was exhausting and while some may view the photos as callous, for myself it was more that I wanted one last look at my father, the man who taught me to stand on my own two feet. From a higher perspective than judgment, these photos are about love.  I was attempting, in my humble way, to make sense of his departure from my world and his. By documenting my father’s death, I was reaching out for one last moment of immortality, trying to make sense of his journey back home to G-d.

© hannah kozak

I saw my father reach for someone that was not part of this world. In that moment, with that reach, my father showed me there is more than just this life. Photography is death of a moment.Death is the eidos of the photograph. According to Roland Barthes in Camera Lucida, the book he wrote in 1979 hailed as the “subtle, most original, most sympathetic literary intelligence of the age” a photograph is a return of the dead.Death is the great equalizer.  We turn into energy and disappear. My father gave me a great gift before he left his physical body. I was on his left side, my sister was on his right. He reached out past me, towards the ceiling, the heavens. “Grab his hand, Hannah” my sister said. “He’s reaching for you.” “No I said” immediately and without hesitation. “He’s not reaching for me.”

My oldest brother and my sister were in the room with my father and I at the end. His hands and feet grew swollen as his skin both softened and wrinkled. On Christmas Eve, I watched his inhale become short and labored until there was barely an inhale left and mainly his exhale. Then, on Christmas morning, the final inhale that lasted too long, a labored gurgled exhale, which made my sister jump, and his soul left the space. Silence. The machine helping him breathe was still inhaling and exhaling for him. He was not. “What do we do” my brother asked to anyone who might have an answer. I said “Don’t call the nurses yet. I need a moment alone with him.”

© hannah kozak

© hannah kozak


It was an honor to be with him until the end. I experienced a surreal and grounding experience. Hospice nurse, Maggie Callanan has witnessed more than two thousand deaths and says “dying people have the uncanny ability to choose the moment of death, and it’s not uncommon for them to spare those they love the most or feel protective of by waiting until those people leave the room.”  I’ve heard so many stories of people waiting until their loved ones left the room before they die. Not my father, he really never liked being alone. Leaning into my father, I smelled decay. I gently removed his blue and white socks off his swollen feet and tucked them into my purse, where I found them ten days later, rolled up in a ball.  I feel sad, numb, but also relief that he isn’t suffering any more.
I made some photos of his hands as he was in the hospital, as well as over the years. I loved my father’s hands and feet.
© hannah kozak 24 April 2010

©hannah kozak

25 April 2010

25 April 2010

27 April 2012

© hannah kozak

19 May 2012

27 June 2012

27 June 2012

27 June 2012

27 June 2012

26 June 2012

26 June 2012

25 Sept 2012

25 Sept 2012

I often wondered about his hands. Those strong hands dug potatoes with two friends from the barracks in the hard, dirt ground, in the dark, as he was a prisoner who worked in eight Nazi camps. The next night he decided not to go out  when his friends started to leave. Not only were his friends caught but their punishment for stealing potatoes was death.  He told me about taking his hand and wiping the back of his neck, seeing it filled with crawling vermin from the filthy conditions in the forced labor camps he lived in.

His feet, I wondered about the towns he walked in Poland alone, after a year in the hospital, looking for his family after he was liberated from Dernau on May 8, 1945.  I can’t imagine what it felt like to know there wasn’t one family member or friend on the face of the earth who knew who he was. No one who remembered one of his birthdays, no one to recall a favorite story with, no one to share a “remember when we ditched school” laugh.

My photographs are the voice that continues after my father’s death. In some way, my photos keep him alive. They remind me of the strong wings he had to develop because he had to learn to fly solo. I feel honored my father choose me to walk with him to the end of his road on the earth plane and I found beauty in the midst of my grief. The shroud of death followed my father throughout his life but his strength and tenacity created rebirth and resurrection. There was no closure from the losses of his entire family during the war but his hope kept him moving forward until it was time for him to go back home, one more time. His death, a learning process and experience he left behind, for those who will follow someday.

©hannah kozak

(The opening lines of James Fenton’s A German Requiem)

A German Requiem – James Fenton

It is not what they built.

It is what they knocked down.

It is not the houses. It is the spaces in between the houses.

It is not the streets that exist. It is the streets that no longer exist.

It is not your memories which haunt you.

It is not what you have written down.

It is what you have forgotten, what you must forget.

What you must go on forgetting all your life.

And with any luck oblivion should discover a ritual.

You will find out that you are not alone in the enterprise.

Yesterday the very furniture seemed to reproach you.

Today you take your place in the Widow’s Shuttle.

“There are too many of us and we are all too far apart.” ― Kurt Vonnegut

Fine Art Photographer shares intimate moments from death


My Mother’s Dolls part 2

My Mother’s Dolls part 2

This is Part Two of the series, My Mother’s Dolls. These photos are a continuation of the series: He Threw the Last Punch Too Hard, which began in December 2009. My mother is in a wheelchair, brain damaged from her second husband’s abuse. She cannot pick up the phone when she is feeling lonely to hear a familiar voice. Or take a walk in the neighborhood, listening to birds singing. Reading a book isn’t an option. She can’t reach out for a dog or cat to pet. Yet she manages to smile at the littlest things, like her dolls. Small reassuring beings, friends in quiet moments.

I have been a participant observer, documenting my mother’s nearly adult lifetime confinement to a nursing home after a brutal beating by her second husband.

I will continue to focus on the comfort objects that help my mother get through her day. These nurturing dolls are my mother’s friends, day and night.

Hannah_Kozak_My_Mother's_Dolls-1109

© hannah kozak

@ hannah kozak

Guatemalan doll

© hannah kozak

© hannah kozak

In emergency room

© hannah kozak

Dora and Hello Kitty

© hannah kozak

© hannah kozak

Dinner time

© hannah kozak

 © hannah kozak

My mother was having lunch. I walked into her room and saw her freshly made bed.

My Mother’s Dolls part 2


Sylvia Plachy’s photography memoir: Self Portrait with Cows Going Home

Sylvia Plachy’s photography memoir: Self Portrait with Cows Going Home

@ Sylvia Plachy

Sylvia Plachy – Nightmare

Part of my desire to visit Budapest was to see where a photographer who is particularly dear to my heart was born. Sylvia Plachy lived in Hungary with her family until they were forced to leave because of the revolution in Europe when she was thirteen years old. Her story resonated with me because of her Eastern European childhood, which reminded me of my father’s childhood, growing up in Poland. She crossed the border with her parents from Hungary to Austria with a small suitcase and teddy bear in 1956. And, I loved imagining her arrival to the United States in 1958 – after two years as refugees in Vienna, carrying only her teddy bear and a larger suitcase.

I found a copy of Sylvia Plachy’s: Self-Portrait with Cows Going Home, during one of my late night Internet searches on photographers. Once I started reading it, I couldn’t put the memoir down. I stayed up all night reading it, and was reminded of my own youth – staying up late to read stories about relatable people in faraway lands from my rollaway bed. I was drawn to it with intensity: the depth, humor and sadness. I stayed up nights for weeks, reading her memoir and studying her photographs. Her black and white images stirred my emotions making me both laugh and cry. I’m always drawn to old school photographers who come from a film background like Melvin Sokolsky, Diane Arbus and Douglas Kirkland. Sylvia’s photography deeply resonates with me – taking me on a journey of quiet, space, solitude and companionship.

Sylvia Plachy - Self Portrait with Cows Coming Home

Sylvia Plachy – Self Portrait with Cows Coming Home

The first photo in Self Portrait with Cows is one that her father made of her when she was 13 years old in Vienna. She’s in the snow and there is a building and a tree in the background. It’s a simple photo that begs so many questions. To me, a photo that asks questions, but doesn’t always give the answers is beautiful. This photo does exactly that.

Sylvia Plachy in Vienna

Sylvia Plachy in Vienna

In her memoir, Sylvia reflects on pre and post Communism and I adore how she captures the somber mood of that period with not only her writing but also with her photography of landscapes and people. Eight years after leaving Hungary, she returned with her camera to continue her passion for her homeland and its’ people.

The first two page spread in her book is called Translvanian woods, 2001. I felt the silence of solitude. I wondered about the fog that seemed to create a translucent space all around.

Part of the reason I feel connected to Sylvia Plachy is because, in some ways, she reminds me of my father. He had to start all over again as an immigrant in America, after losing his entire family in Poland to the Holocaust. He survived 8 Nazi forced labor camps and he was the only survivor of his 8 siblings, parents and grandparents. I am drawn to her art because she followed her heart and dream of being a photographer and showcases such humanity in her photography.

I made my way in the pouring rain to Mai Mano House at Nagymezo utca 20 on the Pest side. I was tired and I still haven’t found a cure for jet lag but I didn’t want to wait another moment to see her art. The building has wooden hand rails and stained glass. What a perfect treat for me to see a Sylvia Plachy exhibition for my first time. It is an exceptional building. I was impressed with how the show was organized with the pamphlet so one can walk around, self-guided and particularly, I could gather all the details I craved: the names and the years she made the pictures. It was well thought out and I love the title: When Will It Be Tomorrow? This was a question she used to ask when she was a child.

© hannah kozak

Mai Manó Ház
Budapest, Hungary

Here are some of my favorite photos from her show:

@ Sylvia Plachy

Groundhog, 1986
Silver gelatin print
37.5 x 37.5

@ Sylvia Plachy

Sylvia Plachy,
Lake Washington, Mississippi, 2009
Archival pigment print
26.5 x 72 cm

© hannah kozak

Sylvia Plachy
My Mother at My Father’s Grave, 1980
I find this one quieting, eerie, reflective, realistic and haunting.

@ Sylvia Plachy

Sylvia Plachy –
Flea Market Vendor’s Daughter, 1984
Silver gelatin print,
39 x 39 cm

@ Sylvia Plachy

Sylvia Plachy –
La Puta Vida, a play, Zselatinos ezust,
Silver gelatin print,
37.5 x 27.5 cm

@ Sylvia Plachy

Sylvia Plachy,
Dog on a Thin String, Moscow, 2000
Archival pigment print,
58 x 21.5 cm

I was drawn to the showcases with the photos of her son, actor Adrian Brody. My G-d, what a beautiful child he was and is. My favorite photo is a black and white image from when he is a child wearing a scarf in the snow. She captures so much emotion in the photo and he looks endearingly precious.

I also loved the black and white photograph of her son with a cigarette, and cat and the one with a puppy in his pocket! Oh my goodness it was darling and fun and made me wonder if it was a family pet.

It was a treat to watch the video showing her with her Leica M-6, her Rolleiflex 2.8F, and Hasselblad. I do feel that all great pictures have ghosts in them as she says. We also agree that the type of camera you are drawn to matters because each camera does something different. Self Portrait with Cows has even more meaning to me now that I have been in Budapest.

Plachy has succeeded in finding the meaning, the essence of life, that she sees with her photography. I am grateful to have discovered her. She is a true artist.

Goethe wrote that the hardest thing is to see what is in front of our eyes. Why I love Sylvia Plachy’s art so much is she does this so beautifully. She sees what is in front of her eyes. She was born with an innate talent and was savvy enough to put it to good use. I adore Sylvia Plachy and her art.

© hannah kozak

Hannah Kozak – Self Portrait @ Mai Manó Ház –

One of my favorite Sylvia Plachy epigrams:

“Flower-language,(virág-nyelv in Hungarian), is what speaking euphemistically was called. In totalitarian countries our lack of power made poets or liars of us all.”

Sylvia Plachy’s photographs used by permission.

Sylvia Plachy’s photography memoir: Self Portrait with Cows Going Home


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