Emy Kat

Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants.  While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For Mental Spaces, I did a type of digital Collage to capture various spaces in the old city and to connect them together in one image, giving the viewer the sense of a 360 degree view and offering them a chance to experience the space from multiple angles in one gaze. This technique allows me to cover several dimensions of a space and to effectively sum up all the facts into a single visual.  This resulting overwhelming bombardment is, in fact, deliberates and is meant to convey a feeling of urgency; that we are in a race against time to salvage the remains of this glorious heritage before it crumbles into extinction.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants.  While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants.  While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.

Artist: For Mental Spaces, I did a type of digital Collage to capture various spaces in the old city and to connect them together in one image, giving the viewer the sense of a 360 degree view and offering them a chance to experience the space from multiple angles in one gaze. This technique allows me to cover several dimensions of a space and to effectively sum up all the facts into a single visual.  This resulting overwhelming bombardment is, in fact, deliberates and is meant to convey a feeling of urgency; that we are in a race against time to salvage the remains of this glorious heritage before it crumbles into extinction.

Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants.  While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For Mental Spaces, I did a type of digital Collage to capture various spaces in the old city and to connect them together in one image, giving the viewer the sense of a 360 degree view and offering them a chance to experience the space from multiple angles in one gaze. This technique allows me to cover several dimensions of a space and to effectively sum up all the facts into a single visual.  This resulting overwhelming bombardment is, in fact, deliberates and is meant to convey a feeling of urgency; that we are in a race against time to salvage the remains of this glorious heritage before it crumbles into extinction.

Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants.  While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.

Artist: For Mental Spaces, I did a type of digital Collage to capture various spaces in the old city and to connect them together in one image, giving the viewer the sense of a 360 degree view and offering them a chance to experience the space from multiple angles in one gaze. This technique allows me to cover several dimensions of a space and to effectively sum up all the facts into a single visual.  This resulting overwhelming bombardment is, in fact, deliberates and is meant to convey a feeling of urgency; that we are in a race against time to salvage the remains of this glorious heritage before it crumbles into extinction.