Exclusive Interview with Stasia Schmidt, 3rd prize winner of the Photography Award, Beautiful Bizarre Art Prize 2024
When Stasia Schmidt attended a workshop in Banff, Canada, on astrophotography, little did she know that she was changing the course of her life and career, as well as fundamentally enhancing her ability to express herself. Coming to the practice of photography with little understanding of the technology, Stasia found that she loved the challenge of taking this medium into spaces few have explored.
Her 3rd prize Photography Award winning image, Floe, is part of a long-term series of images she has created in the five years since attending that workshop. The series, titled Ephemerality, explores how women have always existed in these death-defying natural spaces—acknowledged or not.
Shot by the same woman who sewed the veils, hauled yards of fabric and equipment into these remote spaces, setup, and then posed to capture these effervescent moments of inspiration, it may come as some surprise to learn that Stasia is not only the photographer and director of her shoots but also the subject.
While learning that Stasia is the principle figure in her work might be intriguing, for Stasia, the imagery is not about her own face or form, but rather, a surreal representation of the feminine figure. By standing in these remote spaces, hidden behind layers of sheer fabric, Stasia is standing for all women and the power they wield, both knowingly and in the shadows.
In this exclusive interview, learn more about what it took for Stasia to capture these breathtaking images, how she developed as an photographer, and how much the community of artists surrounding her has impacted her work.
Can you tell us more about your winning image, Floe? What did it take to get such an incredible shot?
Of course. Floe was shot on a black sand beach on Disko Island, Greenland. I had travelled to Greenland in 2022 with a group of photographer friends and knew I wanted to add to my Ephemerality series while there. All of the images in Ephemerality are self-portraits, so there is always a bit of fussing about, running back and forth between the tripod and camera setup to the pose to ensure the composition is perfect.
Once I had the composition on the ice dialled and I made sure my settings were what I needed to capture the image, I turned my intervalometer, a device to shoot time-lapse photos, on, and went for it. This particular shot involved a willingness to be cold and uncomfortable (a very warm down puffy during the test shots helped) and a sense of humour. My original composition literally fell apart when the ice split in half, which turned out to be a good thing because the broken ice made a much more balanced image.
What about the specific landscapes you chose inspired you? What did you hope to capture by bringing your camera there?
The series actually showcases three different settings: Greenland, the Gobi Desert in Mongolia, and the Canadian Rockies. All three locations inspired me with their vastness and their sheer ability for potential bodily harm. When I was shooting in Greenland, I loved the incredible drama of the ocean and the ice and the cliffs, and I knew if I could shoot the scenes in such a way that made the viewer wonder what they were looking at, I would succeed in my vision.
In previous interviews describing Floe, you call out the way that there are so many pictures of men standing alone in harsh environments, staring into the distance, but rarely of women. How have you sought to change this archetype and bring feminine power and presence into nature?
Women have always existed in these spaces, recognized or not. And yes, it’s inspiring to see a figure staring off into the distance at the edge of a cliff, but that figure is almost always a man. I simply wanted to show a different perspective. Is it work to pack in 3 kg of fabric to an isolated location, drape it over myself, usually getting wet in the process, and then pack it out? Of course. But within the process lies the power. I didn’t NEED to bring the phantom with me, but I did anyway. That’s the art; that’s my art.
Women have always existed in these spaces, recognized or not.
What are some other themes represented in your series, Ephemerality?
Ephemerality, first and foremost, represents feminine presence in the wilds, and secondly, I hope it emphasizes the infinitesimally small and ephemeral nature of our existence on earth. Personally, this series represents my first conception, execution, and completion of a creative vision that’s a part of me, and I’m very proud of that.
Many of the human subjects in your work are covered by luxurious lengths of fabric–what do those veils represent for you?
The luxurious veils are actually curtain sheers I bought by the metre and sewed together to make one large skirt/body covering. This was simply a way for me to make myself anonymous and the images less about me; I wanted the viewer to connect with the work in a different way. Honestly, I couldn’t care less if the image had my face or form in it – I just needed a surreal feminine figure, and the most consistent woman available for the shots was myself.
You photograph spaces that feel surreally remote–have you had any adventures getting to a specific location? How do you go about finding locations?
I am very lucky to be involved with a group of friends and photographers (yes, mostly men!) who know of potential shooting locations, and I’ve learned from them. From a safety perspective, I consider it very important to venture out with people I know and trust, so I’m rarely alone. My mentor, Paul Zizka, has played a huge role in supporting me with both location beta and safety.
How did you initially get started as a photographer?
A little over five years ago, I attended an astrophotography workshop in Banff, Canada, put on by P. Zizka, with a camera I didn’t know how to use, and I realized I loved the challenge of shooting in the cold and the dark – it made me pay attention as little else had. That was November 2019, and I’ve been shooting consistently ever since.
How has your artistic practice changed over time?
I haven’t been doing this for very long, so I feel a bit like an imposter when talking about my practice has changed over time. However, I would say I’m less interested in taking pictures of beautiful places, people, or things, and more interested in creating images imbued with meaning that make me think or feel something beyond the ordinary.
Why did you enter the Beautiful Bizarre Magazine Art Prize?
Truthfully, I entered because the photographer and artist Brooke Shaden told me my images belonged in Beautiful Bizarre, and I believed her.
What do you feel you have gained from this experience?
The past year has been a crazy blur – Ephemerality, and Floe in particular,have been so well received it’s been overwhelming. I’ve gained artistic perspective and a deeper understanding of how best to use my time as an artist, as well as invaluable exposure to other photographers as guides and inspiration.
I’ve gained artistic perspective and a deeper understanding of how best to use my time as an artist, as well as invaluable exposure to other photographers as guides and inspiration.
Would you recommend it and encourage others to enter? If so, why?
Absolutely, I would recommend entering. I think it was a hockey player who said we miss 100% of shots we don’t take, and although I don’t really watch sports at all, I fully subscribe to this philosophy.
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