If you’re a 90s kid like me, you’re probably wondering why the things that were cool when you were young are suddenly cool with the next generation of young pups in the world – but somehow, you, in all your infinite wisdom of things apparently “nostalgic” are not cool. They want our stuff, our vibe, style, and identity.
Erin J. Coholan’s work makes me feel cool. Straight up. Her brand of rose-coloured melancholy has a distinct warmth and style that illuminates something within, sparking flashes of vivid memory and lived experience. In viewing her photography, you can almost hear the fuzz of a radio broadcast and smell petrichor, feel the sunburn on your shoulders being agitated by sand, and taste the lime in your beer. It feels like there’s no such thing as, or reason for, wifi. It’s transportive, sobering, and pensive in all of the best ways. It’s a reminder that time is fleeting, but still present – keeping hold of it for yourself only requires a shift in perception.
The kids can mimic our style and claim the culture – but it’ll never be more than that – a claimed culture. They can’t touch the memory of being there, feeling it in real time. Those are all ours. Erin’s work is a reminder that remembering requires everything required for knowing: belief, confirmation, and non-accidental truth. Enjoy.
Rr: Your work has a really cool ambient energy about it. A lot of your shots make me feel like I’m there and as though the energy you’re portraying is translated easily through the image. How do you select your subject matter and how does “feeling” play a role in your photography?
EC: When I think about subject matter I believe a lot of it relies on instincts. It’s one of those challenging aspects of any arts practice – training the eye and continuously refining that. I think in order to access this best for me it starts with habits of curiosity and not forcing any sort of understanding. I think for a long time I thought I had to know why I was capturing something – and sometimes it is so clear to me and sometimes it isn’t, and both are great excuses to do something about it. It’s about noticing what moves me, or makes me stop.
I think it also goes hand in hand with appreciation and wonder – something I think isn’t always easy throughout day-to-day life. Being in awe of life and trying to find that novelty is like a muscle, I think. Exercising the ability in this case to see and to observe is super important…
I think that’s what is so incredible about the accessibility of photography in this modern world – I love to see people’s camera rolls because I see people capturing these beautiful images that are proof that creativity so naturally flows in all of us.
Rr: Your visual style seems to be influenced by a love for grain, blur and motion, analogue aesthetics, and what many hyper tech-focused photogs might consider “imperfections” or faults. Tell us about your visual style and what led you to explore this arena of warm, old-school visuals.
EC: I can think of a lot of reasons for this. My style seemed to really develop in the early stages of creating. I was given A LOT of disposables, Polaroids and handycams as a child so I naturally credit my mother for that. I always enjoyed looking through scrapbooks and old prints, and loved the quality of these images – they always felt very rooted in this idea of imperfection and to me it was because of the focus on feeling and storytelling.
They were beautiful and acted as tangible reminders of the passage of time and I think I always wanted my photographs to feel more like a memory than anything else. I definitely see connections of nostalgia throughout my work. Another sizable factor is that I learned a lot of my technical skills through 35 mm film and in a darkroom which definitely helped define my aesthetic.
But with that being said, I feel that technical has never been at the forefront of my practice. I seem to have a deep connection with a more hands-on, experimental approach to my creative process. I’m particularly inclined towards makeshift learning and experimentation. For me it leaves room for an organic and intuitive side of my craft rather than a strict adherence to technical aspects.
My photography journey started at a very young age and I think that child-like play is something I search for in my process. I remember crafting reflectors from tin foil and spending hours on backdrops at my kitchen table and to me it brings back such a resourceful and imaginative approach that I try to channel always. My educational background definitely had an impact as well. This shaped my perspective really and the possibilities of fine arts photography. At that time it allowed me to explore and figure out my creative direction. I dabbled in projects like short films and installations which led me to a space of really considering all of the various paths and how they work in tandem with one another. I am really attracted to images with heart, and with a raw, stripped-down kind of approach.
I think the less rules you place on yourself the more the vision remains intact. I think with art, your progress can only really be measured by personal growth and confidence but incredible images are everywhere. I look back at images I took over a decade ago and I still find myself thinking “That’s a nice image. That’s a GOOD image” and knowing no amount of education or experience can really make or break that.
Rr: Exploring visual style inevitably leads me to ask about your camera set-up. What’s your go-to combo for body and lenses these days?
EC: In that same vein, I feel like I’m pretty low tech with what I shoot with. Up until recently I had used the same singular camera for over 11 years. I felt a sort of loyalty to this camera and a commitment to mastering it- this was a Canon 5D Mark ii which I still shoot with- and absolutely love. And I am a 50mm girl through and through. It’s fun to experiment and it’s actually something I want to do more of but I use 50s on everything and I love to mix and match different brand 50s with a cheap lens converter. I did fall in love with Sony and their capacity for low light shooting and gorgeous video, so I do use a Sony A7iii as well. I still shoot with disposables and I always love to mess around with cameras from my growing collection.
Rr: Travel seems to be a main pillar of your subject matter. What about exploring new spaces ignites your draw to take pictures?
EC: I think for the longest time I couldn’t actually make the connection between my love of travel and how seamlessly that meshed with my love of art and creating. It seems so obvious but I also actually put them in separate categories up until recently when I started to travel for photography jobs. I’ve learnt it is so good for my brain to see new things. I really try not to lean into routine much, it doesn’t seem like it’s very natural for me. I think experiencing new things is very artistically stimulating. I feel a strong bond to travel photography as I feel it speaks to the type of work I like to create.
I consider my work fine arts/documentary and I love to tell stories with my images- in subtle and obvious ways. Travel is always a story- and always connecting which is another part of art that I love so dearly. But I am truly fascinated with different perspectives and ways of life. I think newness in general is inspiring from the little things to the big things. Travel is a way I feel most connected to myself while simultaneously feeling incredibly outside of my comfort zone. I think that combination tends to amp up creativity, as I think comfortability often pauses the process of creating for me. The vibrancy and natural beauty of different places in the world doesn’t hurt either!
Rr: Photography can be a bit of a gateway drug for many, and sometimes that means dabbling in painting and video to get your creative fix – I know you’re well versed in both mediums. Tell us about the similarities and differences you notice in working with video and visual art and how they relate to your photography.
EC: I definitely agree- I think it also goes back to that idea of exercising those creative muscles and you’ll surprise yourself with how it carries over to other art forms. I love the quote that says “Serious Art is born from Serious Play”. I think there is so much to this- and how art quite literally demands play, and that is almost always in my opinion- the route to ‘serious’ art. I think that’s one major similarity in all of the mediums you mentioned.
I think visual art and photography have a closeness in a lot of ways- like the conceptualization in the beginning stages and then how it evolves based on choices and instincts to then create a final product. I find painting really relaxing because of how personal and almost solitary it is, and how much you can control and take breaks. That is very soothing to me, so I think major differences lie within the pace. I think depending on the type of photography it’s sometimes hard to achieve that when working with models, the elements, time etc.
Similarly to directing and shooting video, it feels the total opposite of painting because of how fast paced it is and how many other minds it includes. I love collaboration and the power of togetherness is something really special. So it’s cool to switch back and forth. I think every one of these ways of working helps to inform the others and just contributes to expanding my ways of working and maintaining a flow.
I’d love to continue my connection with other art forms- I think engaging with it as a viewer or listener is also an important way to become more in touch with your own arts practice.
Rr: Tell the people what you’re working on and where they can find you.
I’m in a very YES! type phase of my life- seems I have always been- not sure when that will stop! I love it though. I am doing lots of freelance work and always taking on new clients and projects. I have some weddings to shoot coming up, I have been honing in on some of my other skills such as website design and marketing, conceptualizing a few different video projects, lining up some trips for some street photography, and beginning to paint larger scale.
I also work at an art gallery in Collingwood called Studio Ciel and I am eager to get more involved in my community here in Collingwood.
You can find me and my work over at @erinjcoholan on Instagram! And my website erinjcoholan.com
