The lines between art, pornography, and fashion are more blurred today than ever, especially with the persuasion of titles like Baron. Founded by Jonathan Baron just two years ago, the paperback mag has gained some serious traction in the creative world through its reimagining of erotic themes through the eyes of many different acclaimed photographers.
The latest of which is Edith Bergfors, a London-based photographer whose signature "fashion through a surrealist lens" approach has caught the attention of Baron twice, as well as the likes of DIS and Under/Current. We caught up with the artist to discuss her second contribution to Baron for Issue #3, as well as the overall concept of eroticism in art.
CHLOE MACKEY: What is the overall backstory behind the photographs in your latest spread in Baron? Can you walk us through what themes you were trying to explore/your artistic process/etc.?
EDITH BERGFORS: The series is a flashback of memories, as witnessed through a semi-fictional character at the end of the world. It's a collection of photographs from my archive dating back to when I was a teenager, as well as some new images that were created specifically for this. I wanted it to consist of punctuational moments in life, sometimes over-thought to the point that they become surreal, and sometimes entirely imagined, combined with images that evoke a sense of the sublime that casts a daunting shadow overall. Matthew Holroyd (the creative director of Baron) and I sat and edited and re-edited the images over months, which allowed us the time to consider the balance of imagery and create whatever was needed to complete it.
This is your second contribution to Baron, this one being much more surreal and dark. Is this an indication of a change in how you as an artist tackle themes of sexuality and eroticism?
Absolutely. I hadn't really considered doing anything too erotic previously, so the first shoot I felt needed to have a sense of humor to it. It still had a seedy element, but I think with being allowed such a wide time frame and subject matter for this shoot, I was able to consider new pathways of exploring the subject.
You use a wide variety of individuals as subjects in your work, and that is very clearly seen in this feature. What usually draws you to a potential subject?
Generally, I think it all comes down to a sense of confusion for me. I like people who in some way make me feel uncomfortable, not because of their direct actions but for my lack of ability to "work them out." For example, the photograph that begins the series is from my early 20s; she is a friend of my grandmother's who I'm still infatuated with. She's a retired pediatrician, who has recovered from lung cancer, who continues to smoke cigars and drinks as much whiskey as she ever did, and though her mannerisms are entirely polite and elegant, she has this badass attitude and is quite crass verbally. Maria, the lady who appears twice in the series is someone that Matthew and I have shot previously, because her face to me looks entirely ageless. Paris is a boy that Matthew and I chose for this, knowing beforehand that he would have an erection in the image. We felt like he had a sense of calamity in his face, which we wanted to be juxtaposed with his raging boner.
There are a number of nature shots in this series, and considering Baron is an erotic magazine, how do you feel
The latest of which is Edith Bergfors, a London-based photographer whose signature "fashion through a surrealist lens" approach has caught the attention of Baron twice, as well as the likes of DIS and Under/Current. We caught up with the artist to discuss her second contribution to Baron for Issue #3, as well as the overall concept of eroticism in art.
CHLOE MACKEY: What is the overall backstory behind the photographs in your latest spread in Baron? Can you walk us through what themes you were trying to explore/your artistic process/etc.?
EDITH BERGFORS: The series is a flashback of memories, as witnessed through a semi-fictional character at the end of the world. It's a collection of photographs from my archive dating back to when I was a teenager, as well as some new images that were created specifically for this. I wanted it to consist of punctuational moments in life, sometimes over-thought to the point that they become surreal, and sometimes entirely imagined, combined with images that evoke a sense of the sublime that casts a daunting shadow overall. Matthew Holroyd (the creative director of Baron) and I sat and edited and re-edited the images over months, which allowed us the time to consider the balance of imagery and create whatever was needed to complete it.
This is your second contribution to Baron, this one being much more surreal and dark. Is this an indication of a change in how you as an artist tackle themes of sexuality and eroticism?
Absolutely. I hadn't really considered doing anything too erotic previously, so the first shoot I felt needed to have a sense of humor to it. It still had a seedy element, but I think with being allowed such a wide time frame and subject matter for this shoot, I was able to consider new pathways of exploring the subject.
You use a wide variety of individuals as subjects in your work, and that is very clearly seen in this feature. What usually draws you to a potential subject?
Generally, I think it all comes down to a sense of confusion for me. I like people who in some way make me feel uncomfortable, not because of their direct actions but for my lack of ability to "work them out." For example, the photograph that begins the series is from my early 20s; she is a friend of my grandmother's who I'm still infatuated with. She's a retired pediatrician, who has recovered from lung cancer, who continues to smoke cigars and drinks as much whiskey as she ever did, and though her mannerisms are entirely polite and elegant, she has this badass attitude and is quite crass verbally. Maria, the lady who appears twice in the series is someone that Matthew and I have shot previously, because her face to me looks entirely ageless. Paris is a boy that Matthew and I chose for this, knowing beforehand that he would have an erection in the image. We felt like he had a sense of calamity in his face, which we wanted to be juxtaposed with his raging boner.
There are a number of nature shots in this series, and considering Baron is an erotic magazine, how do you feel