In Fact I’m Trying To Unite
What does an individual perceive as a norm? Where do we draw a line between self-definition, stereotyping or tagging, and subjective recognition of a person's characteristics? An artistic struggle to propose an original angle of view might be judged to be extreme; however, exclusively through posing the right questions, the liberation from the shackles of society can follow.
Through her body of work, Jaimy Gail manifests precisely this idea by distorting "the content just slightly by adding something that feels abnormal or eccentric, with the sole purpose of making the observer question their own subjective norm neutral." Political stance on topics as violence, gun ownership policy, religion, normalcy vs. absurdity, nudity and sexuality as a prism emerging from pop culture, and the concept of family are some of the topics Jaimy decisively brings to our attention.
Jaimy Gail is a photographer from Amsterdam, the Netherlands, who focuses on the fields of editorial and portraiture photography. Jaimy is a graduate of the Royal Academy of Fine Arts in The Hague. WÜL elaborates with Jaimy on topics such as the definition of normalcy in our society, the research of norm through the project Normaal Doen, and the 17th-century art and its impact on Jaimy's vision. We discuss the project Pink Niqab and the extensive critique that originated, at times, being aggressive and harsh.
‘I distorted the content just slightly by adding something that feels abnormal or eccentric, with the sole purpose of making the observer question their own ‘subjective norm neutral.’
The Netherlands
How do you think the country of origin affects one’s aesthetic and choices?
It affects one greatly. It’s your basis, your foundation. But because it is your basis (in other words your norm) it can be hard to actually see it. Being aware of your basis and being able to look at it from a distance, somewhat objective, is such an interesting view.
What are some of the topics that touch you and are of high importance to you as connected to the Netherlands and the creative sphere?
As long as I can remember, I’ve had a deeply rooted fascination with the concept of being normal/abnormal. Even as a child, the discrepancy between the two puzzled and intrigued me. The simplest alterations can make you stand out, regarded as abnormal, and doing so has consequences. You are labeled. This labelling process is in fact a very human thing to do. We need to draw lines and differentiate to function in a world filled with uncertainty. I noticed that the placement of the lines and the choices of what to include and what to exclude are mostly culturally determined.
I started to look at my own norms. The norms being formed by my upbringing, and by the fact that I’m Dutch. The most logical set of norms in the world, but in fact a subjective neutral line designed just for and by me. It came together when I started the project called Normaal Doen. It’s a project triggered by a comment made by the Dutch prime minister addressing the public to ‘act normal or piss off/leave the country.’ As a Dutch woman, I’m very familiar with the Calvinistic approach towards behavior, and it’s almost culturally determined that the Dutch phrase: ‘Doe maar normaal dan doe je al gek genoeg,’ which means, ‘Act normal that is already crazy enough’ is almost the fundament of Dutch culture. Still, in the letter of the Prime Minister there is an underlying tone of exclusion without really saying anything. Assuming every Dutch citizen would understand this notion of acting normal, for it's a part of truly being Dutch.
So I went on to try and capture this concept of normalcy the prime minister assumed to be a widespread truth. First, by determining what imagery is normal to me, or to the society I was brought up in. What is this “normal,” and what does it look like? I wanted to see if there was such a thing as commonly accepted imagery, that visualizes this Dutch norm. Then, I distorted the content just slightly by adding something that feels abnormal or eccentric, with the sole purpose of making the observer question their own ‘subjective norm neutral.’ In the process, I started to enjoy normalcy, where previously, I was mostly drawn towards the abnormal. Maybe because when I pinpointed the normal, it turned out to be just as weird as the abnormal. Looking at both with just a little objectivity, you will find out that in fact there is no difference between the two.
‘But in particular, I love portraits. In every style of every period, it’s the subject in which I can express myself best, and is the biggest subject of inspiration. It has to do with the precision of the execution, the story it can tell without the context and timelessness.’
Painting
You actually studied painting at the university. What is the period in art you enjoy the most?
I like the idea of art being a craft, and the outcome of this craft a utensil. It represents a fading reality, even when time passes, and the (painted) reality changes. Wilted, dead, or altered, but within the piece of art, it
survives.
I’m mostly interested in the time period when the focus was more on the narrative or subject matter than the conceptual idea: 17th-century landscapes, still-life, or portraits. To me, they are snapshots of this reality altered by time. But in particular, I love portraits. In every style of every period, it’s the subject in which I can express myself best, and is the biggest subject of inspiration. It has to do with the precision of the execution, the story it can tell without the context and timelessness. Also, a portrait has something lofty; it tells you this particular person is worth the ravages of time. Wanting your portrait painted has a touch of narcissism to it. It intrigues me.
How does your acquired knowledge in art affect your photography?
A clear overlap with photography is easy to notice: the idea of a snapshot of time that flies by, the portrait, people, and the process of the craft.
‘The line between comfortable and uneasy imagery is, in-reality, a thin one. And the process of determining this line is what I’m interested in. Especially in the potential of altering this line. Making the viewer question their norms. It’s funny to me how I’m often being accused of provoking, while in fact, I’m trying to unite.’
What’s Normal
In your work, you focus on questioning societal norms, as the project Normaal Doen, while trying to move the boundary between the accepted and unaccepted in themes like sexuality, religion, guns, beauty. What are some of your findings, or what do you see as still uncanny today?
Uncanniness isn’t really the thing I’m after. It’s more subtle than that. The line between comfortable and uneasy imagery is, in-reality, a thin one. And the process of determining this line is what I’m interested in. Especially in the potential of altering this line. Making the viewer question their norms. It’s funny to me how I’m often being accused of provoking, while in fact, I’m trying to unite.
Let’s rethink our social norms, how and where they originated, and be flexible to one another. Of course, bold statements and subjects like sexuality and religion communicate this message with a far bigger range than the subtle ones. But the motivation behind is truly human interconnection. So in 2020, the subjects like fetish, sexuality, and religion remain urgent, as are subcultures, the ways of the elite, and where we go on holidays or do our grocery shopping. And of course, it's impossible to ignore the current COVID-19 pandemic.
What are some of the topics you will continue exploring in 2020?
Practically speaking, by working with people, my main subject became almost impossible. But it also forced me to look beyond my habits resulting in a totally new project where I photograph the peripheries of Amsterdam: the meadows, the famous dutch skies that we long for, now that the city lost its lure. I will print the images in a large, museum-like, monumental format, 17th-century landscape style, if you will.
‘Can you imagine, pitching and explaining your idea to photograph an 8-year-old pretending to be pregnant. You have to be really subtle and make sure everyone involved trusts you.’
Commissioned Projects
When working on commissioned projects, you always incorporate a theme of interest to explore and present before an audience. How do you approach the merge of your interest and research and the client’s idea for the feature?
This can be really tricky. I’m quite stubborn when it comes to my vision, my idea. I hardly work on commissioned projects where I have no say over the concept. But the plus side of being known for a distinct style and subject matter is that the commissioner is aware of the fact. They know a bit what they’re getting into.
What’s the hardest part to get an approval?
Also, I noticed that it really differs where the client is from. In the Netherlands, there is a lot of freedom, and we are used to looking at imagery that is very direct and sometimes a bit abrasive. Dutch cinema is known for its raw, honest, and sexual themes. When I have a client in, let's say, the UK, then it’s a lot harder to get something approved. I always keep that in mind when pitching ideas. Getting an approving model for the concept in mind is actually the hardest part.
What are some challenges you face when working on this kind of a merge of interests?
I never find my models through an agency, so they aren’t used being photographed, let alone within the context that I’m proposing. Can you imagine, pitching and explaining your idea to photograph an 8-year-old pretending to be pregnant. You have to be really subtle and make sure everyone involved trusts you. For instance, with casting, getting all the approvals (from, in this example, the parents) can be a slippery slope. And an important one, because of the explicit content, the approval has to be 100%.
Criticism
What is the topic, your work, that got the most criticism from society and was discussed the most?
No doubt, my project with the Pink Niqab. In short, I made a portrait of three generations of women posing in a pink Jilbab with a niqab. It got a lot of responses. Just positive or highly negative, there was no in-between. I was used to getting a lot of unasked feedback, which is what I’m after. In a way, remarks mean contemplation or reflection. But what I wasn’t prepared for were the people that felt highly offended by my work. They felt personally attacked and criticized in their beliefs, while I had intended to do the opposite.
Why do you think this happened?
I ignored most of the comments, being quite aggressive, except one. I got in contact with someone who showed me that people interpret my images within their own construct of the truth, and of what is right. And that I myself am the subject of prejudices. Me, as a white Dutch woman, could never intend to make a positive critique about Islam, was her firm belief.
The beauty was that eventually, we came to a mutual understanding. It taught me a lot about being able to articulate myself when being questioned. I’m letting the viewer decide for themselves what to make of the image, but I have to be ready to explain my intentions when needed.
Travel
During the trip to Morocco, Vietnam, and Thailand, last year, you photographed locals, focusing especially on kids. What is the process of working with kids?
Kids aren’t afraid or camera-shy therefore they are amazing models. In a certain way, my choice to photograph children is in line with the reason I don’t use modelling agencies. The model is raw, untrained, and unpolished. With children, this unconscious competence is even more present. They think it's cool or they want to show off in front of their friends. I love how pure they are and how well they accidentally pose.
What is for you the most tricky part in documentary photography?
I find documentary photography liberating, really. It does require a continuous focus, for the subject, and content is constantly changing, making it harder to be in the right place at the right moment, especially while shooting analog. But the more challenging, the more fun.
Upcoming Projects
What are your plans for this year? What are you working on right now?
Building my own darkroom at home. Exciting enough ;)
