“The process of creating the photobook made me more regardful and critical of how I relate to the images, and basically to any other work I produce. It certainly deepened my apprehension of the way photographs may or may not work together, and compelled me to seek the unexpected connections. Getting the disparate fragments chained in equilibrium when the multiplicity of combinations is possible is an utterly absorbing process that can be tough at times. It also taught me how to make compromises without betraying the genuine intention. Since ‘be prepared for the worst’ and ‘have no expectations’ are my core principles, I can’t evaluate whether anything was easier. I guess if you put a substantial amount of effort into the work, everything is equally important, and there are hardly any easy routes in or out left, because it is about your personal responsibility and how you, as the artist, care about the final result. Perhaps, it has to do with my artistic attitude in general: if anything is becoming easy, I feel that I’m not dedicating myself fully. Obstacles and challenges are as needed as oxygen. There were some ‘unpoetic’ production delays, which forced us to postpone the book launch twice. I was very concerned with achieving the desirable colour reproduction on paper, and this resulted in more time being spent on getting the test-run prints ready. But luckily nothing too terrible, like the whole stock being flawed, happened.”

The Persimmon’s Fruit by Nat Urazmetova (4/4)

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