MATI GELMAN | HUMAN INTEGRATION WITH NATURE

MATI GELMAN | HUMAN INTEGRATION WITH NATURE

” I have known what it is to be an outsider. A child of Hungary raised in a kibbutz in Israel, and later an Israeli immigrant in New York. Traversing these cultures as a newcomer was made more tenuous by my commitment to living unapologetically as a queer person. There is a profound injustice in being othered because of a truthful life, but through my art, I have found beauty in it.”
-Mati Gelman

Mati Gelman is a self-taught commercial and fine art photographer.
Born in Hungary and raised in Israel, he first pursued an education in Science, receiving a degree in Biochemistry from the Israel Institute of Technology (Technion) and a Master’s of Science in Organic Chemistry from Bar Ilan University in Tel Aviv. He transitioned to full-time photography after moving to New York City, where he currently resides.

Through composite and staged photography, his work explores queerness and human integration with nature, evoking feelings of rapture, wonder, and unmooring in equal measure. Originally a chemist manipulating matter and molecules, Mati now manipulates pixels and pictures.
Awards include the UMBRA International Photography Awards, FAPA (Fine Art Photography Awards), and the International Color Photography Contest’s Chromatic Awards, in addition to being a 2021 Finalist of Microsoft’s “Original by Design” competition.
Gelman’s work has been showcased at “Artsy” and “Dabart,” and the “More Art Please,” “Photoplace,” and “SMUSH” galleries. His work is featured in “Dance Vision” by Joshua Teal, a publication from Abrams Books, and “Painting with Light,” showcasing highlights from the last five years of production.

“I have known what it is to be an outsider.
A child of Hungary raised in a kibbutz in Israel, and later an Israeli immigrant in New York. Traversing these cultures as a newcomer was made more tenuous by my commitment to living unapologetically as a queer person. There is a profound injustice in being othered because of a truthful life, but through my art, I have found beauty in it. Those who are othered, foreign, or alien are frequently seen as a threat or an interloper.
While consistent with my own experience, the wisdom found in the classics provides an alternative narrative. In the pantheon of the ancients, the stranger was often a god in the trappings of mortals. The traveler may be angelic or prophetic in sacred texts by the story’s end.
I have claimed this hope- that those you do not understand may be a source of divinity, not a danger, evolution, not erosion- and infused it into my work as a wholly ancient and modern assertion that not only affirms my own valid existence but invites the broader culture to see all outsiders with the kindness of possibility and generosity of hospitality. This neo-neo-classical approach elevates my subject through celestial treatment with a rich palette and organic forms. Organic is not just in fluidity and effusion but also in the molecular and chemical base.
My work, while otherworldly, is grounded in the material by my love of the natural sciences. As a chemist by training (MS), my vision of the world is indelibly shaped by my knowledge of its substance.

By constantly seeking to reveal what truly is organ, vein, or spirit, I can craft the layers of what’s visible to reveal an ever more profound truth. In pursuing a panoramic vision of the minuscule and mighty, I have found that both may be brought to life through photographic composites that blend physical reality with fine post-process artistry.
It is both my hand and heart’s work- as a lifetime of patience and growth has taught me to composite my own identity so that I might live grounded and ascended. Literal and liberated.
The foreigner, the neighbor. The lover, the ostracized. The scientist, the artist. The then and the now. May you see yourself in the natural and supernatural of this work; may you be affirmed of your own worth in its reflecting pool; and may you do the same for every stranger you meet.”

Getting To Know: Mati Gelman

Lens Magazine: Please share the background of your photography journey. Did you grow up in a creative environment? What led you to the fine art photography field?

Mati Gelman: I was born in Szeged, Hungary, grew up in Israel, and moved to New York City in 2016. As a two-time immigrant, I constantly searched for a sense of connection and belonging. Initially, I was curious about humans’ role in the natural world and what ties them to it. My curiosity led me to study Science, and I became a Chemist. Over the years, my interest expanded beyond the mechanics of nature to include the psychological connections we have with it.
Creativity, in the form of problem-solving, was integral to my growth as an outsider. It influenced both my scientific research and my art.
As a quiet observer from the sidelines, I struggled with verbal articulation. Instead, I absorbed my environment visually. This inclination naturally drew me towards photography and using a camera, a tool that encapsulates the technology of observing our natural environment. In time, I learned to express my feelings visually. Fine art photography allows me to observe internally, into myself and others.

Lens Magazine: Where your inspiration comes from? Is your artistic style influenced by other photographers or a specific art field?

Mati Gelman: It’s easier to pinpoint where my inspiration doesn’t come from. Generally, it’s connected to everyday objects and movements I observe. I am captivated by suspense and tension because they embody stretched connections. My style is heavily influenced by surrealism and anything related to it, as surrealism delves into the mind and expression of the subconscious. I draw substantial inspiration from various artists in different fields who engage with conceptual and surreal work.

Lens Magazine: Tell us about the workflow process from the step of the idea until the final outcome. Which software do you use for editing? Do you see post-processing as the primary time investment in your work?

Mati Gelman: My workflow typically starts with a flash of inspiration, often a fragment of an idea.
It could be a visual cue or an emotion, which I then ponder upon and document as text – a process I find challenging yet efficient as it sharpens my focus. Depending on the idea, I either develop it into a concept or start experimenting with my camera.
During the photoshoot, I aim to create as many “open-ended” shots as possible, treating every subject or object like a “prop” that can be manipulated and fitted into a larger image. I primarily use Photoshop for post-processing.
The beauty of this process is that the path to the final image remains open-ended, allowing me to adjust the idea according to the versatility of my source material. This approach can make the process more challenging, as I can quickly get stuck in the initial phase of the idea. However, it also enables me to arrive at the best possible outcome. I let the photo shoot and the editing process guide me to the best result, making changes as necessary, even after the photo shoot is done.
In essence, I let the work create itself. My vision is the only guiding compass, as I am not constrained by set pieces but by the number of ways they can be pieced together. The decision to work this way isn’t due to a lack of commitment to the photographic process. Instead, it’s about leveraging the flexibility of the compositing process.
The technical nature of my workflow provides the freedom to experiment with elements, often resulting in images that surpass my original vision because I allow them to evolve as they are created. Hence, I have learned to detach from conventional thinking.

Lens Magazine: From your personal journey in the fine art photography field, what will be your advice to the young photographer looking for a way of development?

Mati Gelman: I would give the same advice as I still give myself to this day: keep going and see yourself as legitimate and rightful to create the work. As Da Vinci noted: “Art is never finished, only abandoned.”
There’s no predefined “correct time” to create nor a “right way” to make art; that’s why it’s so difficult. As long as you’re committed to creating, irrespective of any self-doubt, things will eventually fall into place. It’s crucial to see yourself as a rightful creator rather than harboring feelings of being a fraud.
During periods of struggle or when feeling low, simply clock in, metaphorically speaking, and focus on your work. Artistic expression will inevitably unfold, akin to the routine of a regular job – you show up, settle in, and carry out your duties. This seemingly mundane process can surprisingly ignite a spark that gradually escalates into a cascade of inspiration and motivation. It works every time as long as you do not let the resistance win.

Lens Magazine: What’s the future hold? Any special exhibitions in the upcoming months?

Mati Gelman: I’m currently considering moving to a professional studio, which would significantly improve both my work process and the quality of my work. Until now, I’ve been primarily working out of our small guest room. I have two major photo series fully sketched out. The first explores the sensitive and controversial topic of AI and our relationship with technology in art. I’m excited about this project as I strive to present the most objective view possible, highlighting both the risks and benefits as we confront this technological revolution.
The second series contemplates dreams and reality, questioning where we stand and whether we can distinguish between them. I plan to use a bed as a recurring object to link the worlds of dreams and reality. I intend to exhibit these series exclusively in a museum or a gallery. I have initiated my pitching process and am looking for a space that would have me.

See the full article in Lens Magazine Issue #105