Hypnosis, Douglas Condzo
Douglas Condzo is a photographer and filmmaker based in Maputo, Mozambique. Working across fashion, documentary, portraiture, and narrative storytelling, Douglas’s portfolio captures and represents his omnivorous interests and his democratic approach, as well as demonstrating his dedication to finding and illuminating tender moments of realness, complexity, and beauty.
In this brief interview, conducted over email, TSUKI talks to Douglas about his series Hypnosis, as well his process, ideas, and recent interests in 2020.
TSUKI: What was the genesis of Hypnosis? What led you to focus on this idea?
DOUGLAS CONDZO: The mystery and the power of the eyes. The eyes, the gaze, when properly used, allows two people to come into contact with the deepest part of their being. And in this project I focused on hypnosis, where the eyes are an important factor, especially with regards to non-verbal hypnosis.
Where are you right now, and how have you been this year?
I’m in Maputo, capital of Mozambique. 2020 has been a year of discovery, of learning and improving. I was able to explore and discover more about myself as an artist, and I improved my ability to transmit feelings, ideas, concepts, etc. through photography. I’ve become a better storyteller, too, and so now all these factors make me a happier visual artist, for being able to notice my professional and artistic progress—especially during difficult times like this pandemic that is plaguing the entire world.
In general, your work is sharp and classic, but also full of contemporary energy: how do you go about capturing this?
Like everyone, I contain a mixture of emotions, and I think that is reflected in my art. And I want my work to cover all kinds of people and tastes, to have an accessible interpretation, and not to be a segmented type of art.
What is your process to get from ideas to final images?
It all starts in my notebook, I write down all my ideas, mainly because my ideas pop out randomly, so with this method I can organize my ideas accordingly. For my photoshoots/editorial projects, when writing and conceptualizing the project, I build the character, describe the character, and after conceptualizing the project and building the character, I scout the models and also the location. After finding the character or model, I send the moodboard with the proposal of the outfit, hair style, make up and the feeling that I intend to transmit with the photos. After that it’s the photoshoot day, and I finish with the editing, using adobe photoshop or lightroom.
When it is photojournalism or photodocumentary the process is simpler: I go out on the street and take the photos, and I have the habit of always walking with my camera so if I see something interesting, I register the moment.
“The artists that stole my attention the most are John Baloi, Michael Oliver Love, Jordé, and Rogers Ouma. I admire the way they treat black skin; they manage to exalt the grandeur of black skin with excellence. Each photograph is a work of art; they make me proud of being black.”
Your photography and filmmaking practice bridges documentary, fashion, portraiture, and also fine art, fiction, and narrative. This short black and white series Hypnosis has a really fun, light touch and references all of the above. I think it somehow subtly captures a lot of your work in one collection of images. This is more of an observation than anything else; I think in so many ways it’s been a multilayered, potentially hypnotic or even hypnagogic year, don’t you think?
Yes, hypnotic for its ability to make us dive into our subconscious. Our subconscious is a multilayered world, an unprecedented world, and full of emotions.
By the way, did you also make the cards for the eyes? If not, who did?
The person who made the cards was a plastic artist and illustrator from Maputo, Mozambique, named Maria Chale.
What are some of the visual artists, filmmakers, or photographers you like recently?
I've been following and inspired by the work of several visual artists, but the artists that stole my attention the most are John Baloi, Michael Oliver Love, Jordé, and Rogers Ouma. I admire the way they treat black skin; they manage to exalt the grandeur of black skin with excellence. Each photograph is a work of art; they make me proud of being black.
Is there anyone else’s work (in any medium) that you’d like to see featured on TSUKI?
John Baloi, because he has a poetic way with photography. It’s very interesting, and I really like the color treatment he does.