Traverse no. 2: Mohd Azlan Mam
Welcome to our new column that discovers, investigates, and highlights fine art photographic work from an international forum of creatives. Aptly named “Traverse” and written by our newest contributing editor, Michael Kirchoff.
Within this column, I strive to look at photographs and processes that reside outside of the familiar American bubble that we see more often than not. The aim is in examining not simply our similarities and differences, but also the common thread of making photographs in our shared process and goals.
—Michael Kirchoff, Contributing Editor
Mohd Azlan Mam
One of the most fascinating things about the visual marketplace is how people who are not simply photographers by trade are drawn to image-making out of curiosity or a need to explore art and the world around them. Doing this in a way that is unique to themselves, and especially those that do it in a very bold way gets my attention every time. The case in point is Mohd Azlan Mam, from Kuala Lumpur, Malaysia. While not necessarily a photographer by trade, his long time interest in the visual arts has led him to pursue several bodies of work as an image-maker and installation artist. A day job working as Deputy Manager of CT Scan Unit in Cardiac Vascular Sentral Kuala Lumpur (one of Malaysia’s first private cardiac and vascular hospitals), may come as a surprise to some, but it is his unique outlook on this life that pulls him towards the additional act as a photographic artist. A role in medical imaging, as well as simultaneous studies in Fundamentals, Basics, and Principles in Photography during his undergraduate studies keeps him in the mindset of maintaining an artistic voice.
An interest in the diagnostic value and interpretation of various “hidden“ images, sparked by the bio-medical and imaging aspects of his profession, has helped propel an aesthetic that led Mam to create his latest and most significant body of work, The Rise of Accidental Nerds. Using iconography from religion and war, medium format negatives, and photograms built around a central imposing figure, he constructs his collaged photographs. Each image is its own story, and each is a building block to a (thankfully) fantasy realm of a world on fire, run by tyrants, and seemingly drawing us into endless war. Maybe this is a little bit too real at this moment, however, a need to look into the mouth of the lion can provide historical perspective, guidance, and a push forward that we most likely need. While some of the elements harken back to former conflicts, there are occasional glimpses of whimsy found. There is a careful balance here, and something that keeps me coming back over and over. There is a massive amount of information to take in with these images, and with an extensive essay forthcoming to provide even more insight into the work, Mam’s intentions for this work continue to expand. Truly, it is his representation of poignancy, emotion, and surrealism, that provide an artistic voice worth returning to.
“There is a marked difference between a picture that tells a thousand words and a snapshot that serves only as an illustration. Hence the question I always ask myself before I compose is: will this be a story or just a print? If it’s the former, then I would have done my job. I believe that candid makes for great pictures, but great stories require deep thought and careful planning. An intuitive judicious effort.
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With a digitally printed custom process of self-made paper that has previously been soaked in coffee and fixed for a base tone, images are merged using multiple printing techniques or Risograph. Later, collage elements are added before a final touch of coffee tinting is applied by hand. Prints are unique in a singular edition and usually shown unframed in an installation format viewing station.
While the images can contain abhorrent themes at times, there is extreme beauty in their execution. There are plenty of people out there who collect and treasure the propaganda posters and flyers of regimes past and present for their conceptual take on our world. Seeing something created out of the bits and slices of our past and put together as something new is quite fascinating. I challenge everyone to spend some time examining each of his finished pieces and take in the artistic practice that Mohd Azlan Mam has provided for us all.
About the artist
Born in Balik Pulau, Penang, in 1974. Studied at College of Medical Imaging, University of Malaya Medical Centre, graduated in Medical Imaging (1996), majoring in Intervention Radiological and Cardiac procedures. I have worked in the Radiology Department, University Malaya Medical Centre, National Heart Institute, HealthScan Malaysia, and currently working as the Deputy Manager of CT Scan Unit in Cardiac Vascular Sentral Kuala Lumpur (CVSKL - one of Malaysia’s first private cardiac and vascular hospitals), specializing in Multi Slice CT Coronary Angiogram and Coronary Imaging.
Had a formal education in Fundamentals, Basics and Principles in Photography during my undergraduate studies at the College of Medical Imaging, University of Malaya. Previously working with Bio-medical Imaging technology and now delve into Medium Format / Analogue Photography / Experimental shots and Alternative hand tinting, collage, printmaking, and installation art.
About the author
Michael Kirchoff works in the worlds of both commercial and fine art photography. A commercial shooter for nearly thirty years, it is his fine art work that has set him apart from others, with instant film and toy camera images fueling several bodies of work. His consulting, training, and overall support of his fellow photographic artist continues with assistance in constructing one’s vision, reviewing portfolios, and finding exhibition opportunities, which fill the gaps in time away from active shooting.
Michael is also an independent curator and juror, and advocate for the photographic arts. Currently, he is also Editor-in-Chief at Analog Forever Magazine, and is the Founding Editor for the online photographer interview website, Catalyst: Interviews. Previously, Michael spent over four years as Editor at BLUR magazine.