Vojko Jeric is cold and frustrated. He came to London a year ago, lured by the hope of success, the same dream of streets paved with gold that gets us all. Dedication to art is what gets him through, even when he is verging on proving Samuel Johnson right on being bored of London and life.
A photographer and a graphic designer, he prefers photography due to its dynamism. Surely photography is static I ask, one moment captured on film. All the question verbs start to flood out of Vojko’s mouth. ‘You are always working with people, so although the result is of one c moment, so much goes into it. You have to think how, why, where and who…have a vision.’
This vision for Vojko tends to be fluid, as part of the thrill of photography for him is working with people, and using his intuition to capture the emotion integral to his work. Inspired by the ‘critical’ photography of Erwin Olaf, the drifting melancholia of Lar Von Triers and Gabriel Garcia Marquez’s 1967 novel ‘One Hundred Years of Solitude’, Vojko believes it is important to not be so focused upon one’s craft that it becomes disconnected from the world in which and people with which it operates. ‘Everything is connected’ he says. ‘We complicate things too much, divide ideas and thoughts and philosophies. If you study photography, and read only about photography, you’re stuck.’
Trained as a graphic designer (‘It’s a bit boring’) but with a passion for photography, he undertook a fashion photography course to learn skills, dismissing the focus of the lens, but found that the creative element of fashion inspired, and led on to a personal fascination with vitality of dress up and demonstration. This is evident in one of his projects, ‘I Love U Daddy’, pure naughtiness combined with sensual beauty, the detailed tattoos on the beautiful woman against the decorated wall.
His personal projects reveal a strong belief in the importance of narrative. The ethereal and hazy photos of the portfolio ‘Black Betty’ is an anti hero story about fallen angels. Soft hair combines with glinting dark eyes, a sharp focus with a blurred background, the balance between heaven and hell always oscillating, demonstrating the frustration at not belonging. The beauty captured in this pictures is of a particularly fragile nature. The ability to spot beauty and capture it is something learned on his travels. Originally from Slovenia, Vojko spent a couple of years in Italy, learning about style. ‘The car is not very good, but it looks very good. They make everything look great.’
Good work is that which ‘emotionally satisfies’ Vojko, and he feels that when he as a photographer communicates something of importance to the viewer. I’m always curious as to what makes a person a photographer, rather than a just a person who takes photographs – a professional if you like. ‘It’s important to make the commitment…you can’t give up, even when you don’t have a formula for success.’