Sebastián Meltz-Collazo: Lit Riot Press Multidisciplinary Artist

INTERVIEW: Sebastián Meltz-Collazo – El Golpe del Río (The Coup of the River)

El Golpe del Río (The Coup of the River) is now available as an early release. Buy: Amazon | Barnes & NobleWaterstones | IndieBound | Indigo Books | Books-A-Million.

About Sebastián Meltz-Collazo

Sebastián Meltz-Collazo is a multidisciplinary artist who was born and raised in Guaynabo, Puerto Rico. He works through observation & investigation to create original images, and is currently pursuing an MFA at Ithaca College with a focus on the intersection of writing and photography. Through projects he explores notions of place & identity, analyzing their atmospheres, narratives, and embedded vocabularies as evident texts of societies. He is interested in creating new and original visual experiences creating interactions between historical and personal narratives with the purpose of raising questions about visual culture, representation, and curatorial practices. El Golpe del Río (The Coup of the River) is now available as an early release on AmazonBarnes & Noble, IndieBound, more retailers coming soon.

Preview: El Golpe del Río (The Coup of the River)

 

Sebastián Meltz-Collazo Interview

Lit Riot Press (LRP): Where do you get your information or ideas for your books?

Sebastián Meltz-Collazo (SMC): My work draws from the circumstances and human experiences occurring around me; political conversations, the physical state of a street and how it embodies a psychological state, tons of varying elements. I tend to get hooked on a specific topic or thought and process through it in an investigative mindset. I try to see how the information I analyze can be viewed differently, as to create a new experience with the spaces around us.

LRP: How did you become involved with the subject or theme of your book?

SMC: I tend to look out my car window and create a visual connection with what’s outside; kind of like a staring contest with the landscape, I try to comprehend all the implications, codes, and emotions it might convey. And so, as I was scouting for locations in Ponce (Puerto Rico), I had two cameras on me: one digital, one film. The digital camera I was using to document possible locations for a shoot, while the film camera I was using for my curiosities and reflection. After I developed the first couple of rolls I realized I was interested in the interactions between, traditionally, Puerto Rican and American culture: through architecture, urban design, language, objects, and how it all made evident the current status of these.

Around the same time, my grandmother was sharing stories about her childhood, how she lived with 2 families under one roof, how she learned about many things specific to a Puerto Rican experience. Hearing and looking at these two components, I encountered a connection between the past and present, seeing how her narrative intertwined with, and was evident within, the landscape. Both her life and the city of Ponce are subjects of an ongoing storm: a storm that has been affecting the land and the lives at stake through literal events, metaphysical means, and/or a combination of both.

LRP: What do you like to read in your free time?

SMC: Current news, opinion pieces, history depending on what I might be researching on at the time. I’m currently reading an anthology of Puerto Rican political essays my good friend Edoardo gave me before I left the island, as well as Labrynth, by Olaf Nicolai and Jan Wenzel.

LRP: Do you keep notebooks?

SMC: Always. I need to write down my thoughts or when I make a connection between thoughts as I’m talking about my projects with others, or else I’ll lose it and get frustrated.

LRP: Do you listen to music when you write? When you shoot?

SMC: As a musician I listen to all kinds of stuff constantly, but as an artist I tend to listen more when I’m designing or editing a book. I try to lock down on the rhythms and tones I’d like to translate onto the page.

LRP: Do you share your writing/photographs while you are still writing or wait until you have a draft?

SMC: I like to share my work in progress with artists/friends that are close to me throughout the whole process. It helps me to work through the different Ideas on the table, and having that constant feedback assists in adjusting or expanding my perspective, through the lens, logically, and conceptually.

LRP: What about ideas for books? Do they percolate for years before you write/shoot, or do you work it out as your write?  

SMC: Some basic ideas might float around in my head for a long time, others might be more spontaneous out of my practicing writing and photographing. In the case of “The Coup of the River” it was a balance of both, and I think that’s the most effective mode I create in. There’s a sense of curiosity and analysis  through the photographs and the use of handwritten text in my book that, as I worked on this book, became naturally prevalent on their own for me. It’s that mindset of shooting/writing what I’m interested in while having liberties in terms of the larger framework as I narrow it down; kind of self-realizing what the work says, how it speaks to me through time, and what I want it to say as a whole.

LRP: What cultural value do you see in writing/reading/storytelling/etc.?

SMC: I see my own experience reflected in my research, how I photograph what I care about, and the message I want to convey through each project; even though my work might not be directly portraying my own life. The landscape I photograph encompasses the emotions and psychological space I’m in. So I guess you could say that I attempt to create a self-portrait in this case, but not really (Although, I’m little by little trying to figure out what’s worth sharing about my own life that I could insert Sebastián into my work). I’m interested in the collective experience of people and how those experiences are represented; have people question the visual queues that might trigger their emotions, their memories and thoughts about their land, in hopes of re-evaluating our relationship to the spaces around us. So writing and photography, for me, has the ability to express culture through a new lens.

LRP: Do you have a favorite author?

SMC: I actually can’t really identify a favorite x/y to the dot. But I tend to make groups of favorites depending on their qualities and similarities. Authors, right now to name a few, I’d have to say Junot Díaz, Ulises Carrión, and Luigi Ghirri.

LRP: Do you have a favorite Photographer?

SMC: Like I explained, at the moment, Rose Marie Cromwell, Mariela Sancari, Ron Jude, Richard Misrach…

LRP: What does it mean to be a writer/photographer in troubled times? 

SMC: Being a Puerto Rican in these times, it means I have the opportunity of switching peoples’ gaze onto the things I feel are either overlooked or not thought about at all, with hopes of making a difference in any way.

LRP:  How is your book connected to present day events?

SMC: Using apophenia as a tool, the writings and the subjects I photograph, and how I capture them,  are parallel to the constant struggles at hand in the island. I myself am probably a result of this juxtaposition between different cultures, and that speaks on behalf of my own experience as a person in today’s Puerto Rico.

LRP: If you wrote a book about the future  — the way you imagine it will be — what kind of book would you write?

SMC: Since my work presents elements from the past and the present as to raise questions on how to deal with the future, outside of the framework of a book, I don’t think my work could involve that train of thought. The way I imagine how the future will be versus how I want it to look are very different, which is why I’d rather pose these questions through conversations with viewers after having seen my work.

I guess if I was to write about the future it would have to do with my experiences as a white, latino citizen and the dynamics of racial inequality (or equality) with relation to the spaces around us. 

LRP: What do you like about reading? Photography?

SMC: The connection that forms as a result of physically interacting with content and being pushed to question what’s in front of me; go back and forth within the parameters of the universe inside the front and back covers. I enjoy having a conversation with myself as I read and analyze what’s on the page. I like photography in the ability to express a different language every time, working between what might seem indexical and my pursuits with creating an image. As an author, I strive for new narratives as a result of working through and reinterpreting known histories and tales, considering the connections and implications I find.

LRP: What projects are you working on at the present?

SMC: Personally, I’m currently working on a thesis body of work for my master’s program at Image Text Ithaca. There’s some other ideas in the pipeline but all comes in due time. I’m also working on some other artist books and creating an ongoing anthology of contemporary Puerto Rican photography.

LRP: What do your plans for future projects include?

SMC: Writings, Photography, Video installation, maybe some painting and performance. But I’m always thinking in book format as well. I’m currently doing research on the roots of the national anthem.

LRP: If you could express one thought to all your readers what would it be?

SMC: In this island I call home, there isn’t a sure future in sight when it comes to many aspects of life. And little by little we forget our beginnings: where we come from, who we are. Evidently, this uncertainty of our past determines our doubts towards the times to come. Only the now is left. So what can I do? It is up to me, and rest of us facing these struggles, to create the stories that our history does not offer us, and to synthesize these stories so that those in the future won’t have to recreate a true, or even desired past from thin air. This is at the core of my work, so that they can build upon this secure future that we, ourselves cannot see yet in the now, having faith that it is yet to be discovered.

El Golpe Del Río (The Coup Of The River)

Early Release

Genre: Photography
Paperback 8×10 | 126 pages
ISBN: 9780999294321
Price $31.95
Buy: Amazon | Barnes & NobleWaterstones | IndieBound | Indigo Books | Books-A-Million.
More retailers coming soon: Books-A-Million, Indigo Books, Waterstones (U.K./Europe)
Wholesale: Wholesale purchase options available for booksellers and non-booksellers. Contact LRP

About the Book

The coup of the river is known as the moment in which heavy rainfall turns a stream into an overwhelming body of water, violently washing away everything in its path as it rushes down the current. Taking into consideration this natural occurrence and the cultural/political status of Puerto Rico, Sebastián Meltz-Collazo studies these concepts as analogous structures evoked through the city of Ponce. Interconnecting photographs and memoirs, this book explores evidence and past experiences as results of varying yet synonymous episodes in the island’s stream, culminating into a singular, chaotic event through time, “El Golpe del Río”. El Golpe del Río (The Coup of the River) is now available as an early release on Amazon and Barnes & Noble, October 9, 2017.