Sandra Chen Weinstein
I don’t think a week goes by these days where I don’t see that Sandra Chen Weinstein has another print in an exhibition or another online or magazine feature being shown. Seriously, you can now count me in as one of those features. It’s for good reason too. She puts the thought in, makes the work, and is relentless in the pursuit of making images that connect with the viewer. And when I say that she makes the work, even she has admitted to me that there are scores of images and bodies of work that are not even on her website right now. Many are reserved for specific targets of promotion and exhibition. It takes a driven person to make so much work and connect with others in such a tireless way. Add her to my list of people whom I don’t understand where the time and energy comes from. Ask her though, and she’ll simply tell you it’s her passion and her purpose. Pretty amazing for someone who has come to photography at a later time in life. I guess you could say that she’s making up for the lost (or redirected) time. Whatever the case, I felt it necessary to investigate what she is working on and where the deep-seated passion for photography lies with her.
This interview also comes at you as the first of several in collaboration with CENTER and their grant and award winners for 2020, of which Sandra is one. Her magnificent series, Transcend, has been recognized, and I’m curious to know what it’s all about. See what I mean about the constant inclusion of her work? There are many reasons for her to be on this list, and I congratulate her and the others for their efforts. Cheers!
Lee and Sandra, from Transcend
Bio -
Sandra Chen Weinstein is self-taught and inspired by Sebastião Salgado and Magnum Photos. Sandra’s work focuses on documentary photography emphasizing human condition in social identity, culture, diversity. She has dedicated long-term projects on women, LGBTQI, minorities, and American pop culture. Sandra worked for the Foreign Service from 1986-96, giving her the opportunity to live in Washington DC, Japan, China, Taiwan, and Canada. While living in Japan, she also taught Mandarin in College and studied ceramic art and exhibited this work in Japan and the U.S. Upon returning to Southern California in the late ‘90s, she worked in technology and finance before she found passion using photography as her medium of art. In 2007-2008, she worked for master photographer of Magnum Photos, Eli Reed, as his personal assistant. She went on an India Expedition with Steve McCurry in 2007. Sandra has received numerous distinguished awards including CENTER Director Choice’s Award First Place, National Geographic Magazine International contest winner for People & Reader’s Collection, 1st Prize Open Category Kuala Lumpur International Photoawards, 1st Place Prize Winner of Robert Cornelius Portrait Award, Runner-Up for International Conservation Award in Culture, The Julia Margaret Cameron Awards two times, IPA Deepest Perspective Awards, PX3 First Place Award in Photojournalism, American Photography 36, 33rd & 30th Annual Book Collections, and the Archive New York, and many other distinguished awards in U.S. galleries and museums. Her award-winning work has graced the covers and pages of many, including European Photography Magazine, Papiers publication French Culture Paris special featured Facets of India 16 images, AI-AP's Pro Photo Daily, FotoMagazine Germany, Color Magazine, B/W Magazine, Prix de la Photographie 3.03, Taipei Time, Dagblad Van Het Noorden and more. Her work has been exhibited nationally at Aperture Gallery, Annenberg Space of Photography, Asian Art Museum, Stanford Art Space and many more, and internationally including the countries of Japan, New Zealand, Australia, China, Taiwan, Thailand, Spain, and the United Kingdom. Her work is in several private and public collections including: Museum, Gallery, University, Arab American Culture Center, Technology Corporation etc. Sandra also has curated Magnum Photographer Eli Reed in Taiwan International Photo Invitation Exhibition, and Pingyao International Photo Festival. Sandra is a longtime supporter of philanthropic organizations such as Art for AIDS, Black Live Matters, PFLAG, Olive Tree Initiative for Arab-Israeli peace, The United Nations High Commissioner for Refugees (UNHCR), National Trust for Historic Preservation, American Society for the prevention of cruelty of Animal (ASPCA).
Interview -
Michael Kirchoff: I’ve noticed that you have stated in the past that you are a self-taught photographer. What was it that influenced your decision to take this path?
Sandra Chen Weinstein: I only became serious about photography when some of my early works that I submitted to a couple of photo contests and started winning awards: The International Photography Award (IPA Lucie Award) in 2006 and National Geographic International Photo Contest, in 2007. I have always been interested in the human condition: people, diversity, social, and racial subjects. My previous work with the Foreign Services overseas and living in different countries may have informed my passion in humanity.
MK: Looking back at this start in image-making, do you think that there is anything that you may have done differently while making steps forward in this career choice?
SCW: I am perfectly satisfied with the choices I have made in pursuing my photographic and artistic journey.
MK: You’ve chosen to specialize in documentary photography. Are there specifics in terms of subject matter that capture your attention more than others?
SCW: Documentary photography to me means documenting the truth, the reality of a moment in time with precision of what you want to say visually. I am interested in all subject matters, but certainly, I prefer to work on subjects that have not been overly exploited in photography. In recent years I have worked on more personal, intimate projects and portraits; it’s both fine art and documentary.
Bryce, from Transcend
Ethan and Cami, from Transcend
Asher, from Transcend
Asher and Hart, from Transcend
MK: Documentary work, photojournalism, and investigative genres in the visual arts often include working within the realms of the written word or filmmaking/motion-based projects as well. Do you have any interest in this, or possibly seek to collaborate with others in this way? Is it necessary for your style of working to include this?
SCW: I prefer to express myself through the visual medium of photography and let the images I capture speak. While Transcend includes written text, it is mainly in the voice of those in the photographs themselves, while I present my narrative through the images and arrangement of the series as a whole.
MK: Are there any other forms of artistic expression that inform your photography? What about the other way around?
SCW: I am working on some newer, ongoing projects that explore more types of compositions in pattern, color, abstractions, and composite work as well. This has been truer recently, especially now during my shelter-in-place restrictions due to the COVID-19 pandemic.
MK: You have recently garnered attention for your project Transcend from the CENTER Awards this year. Can you give us a brief description of this work and what brought you to seek their embrace?
SCW: This is a story of relationships, but most importantly, love. This is a collection of intimate portraits and stories of people and their loved ones, families or chosen families, including my own, from the diverse LGBTQ community which constantly struggles for equality and acceptance.
Jeffrey and Amela, from Transcend
Brett, Sarah and Harvey, from Transcend
Alexa, from Transcend
Alejandro and Alexander, from Transcend
MK: How do photographs advance the concept of inclusivity?
SCW: Strong narrative with good execution skill. Allowing the viewer to empathize with the work gives one the opportunity see a broader view of humanity.
MK: Transcend is currently a work-in-progress, correct? How long do you foresee working on it, and what do you feel is the long-term goal for the project?
SCW: Transcend started in mid-2016. There is another chapter that will go on as long as I need to. I am living in Transcend with my child and the LGBTQ and trans community.
MK: You also have a body of work called SHE/They that seems to incorporate similar themes as Transcend, such as identity. Do you intend them to inform one another, and are they being produced in conjunction with one another to build upon this principle?
SCW: Transcend is a love letter to my child Lee, our bond as mother and child, and other families. The SHE/They project was developed contemporaneously with the Transcend project. For SHE/They, it is a series of candid and intimate portraits of women illuminating the dynamic and complex female psychology, the perception of tradition, love, identity, and ideals in life. At the same time, this work demonstrates how women inhabit diverse bodies and express complex forms of self-determination. I incorporate “they,” in addition to the pronoun “she,” in my title to acknowledge the range of gender identities among women. The similarity is about identity and SHE/They is how women came to empowerment of their individuality and self-independence, yet vulnerable internally. I met women in different places and countries, I have never used models to stage the shots in a studio – I only shoot with my handheld camera with the women in their natural state of mind and environment. Though both projects do grapple with the concept of identity, SHE/They focuses on the perspective of the individual, whereas Transcend shows the power of love of family, both natural and chosen.
Anna, from SHE/They
Sunset passenger, from SHE/They
Angel, from SHE/They
Barb, from SHE/They
MK: I distinctly remember meeting you and looking at your work during Review Santa Fe last year. It seems as though you take great strides in being a social animal when it comes to engaging with the photographic community. Have you felt this to be a necessary and beneficial way to reach out to others in the industry?
SCW: CENTER is a community for the photographer to learn, exchange and exhibit your work to art professionals in the industry. I thought it’s important to connect with and share your vision of photography with this community. It is such a great opportunity.
MK: Much has changed in the time since we first met. The current pandemic has thrown a wrench into the plans of everyone in this field, especially with the in-person events like portfolio reviews, workshops, and gallery openings. Even the simple act of going out to make photographs has been dramatically altered. How do you see things continuing with the loss of this physical connection?
SCW: Photography is versatile in many ways. There are many Zoom meetings with gallery, talks, workshops, etc. to connect us. I am fortunate that several of the exhibitions that I am part of, the galleries are having both virtual viewing and by-appointment viewing at the galleries during this time. I think the industry for photography had changed even before the COVID-19 pandemic, but I am hopeful that we will survive and adapt to these changes in this challenging time.
Lee, Kathy and Nikki, from Transcend
Bill, John and Dash, from Transcend
Emmet, from Transcend
Lee, from Transcend
MK: I wanted to finish up this interview with a few more general questions about your outlook and methods of working photographically. Let me start with this. Was there a specific point in time where you felt that you had found your voice in photography and became satisfied with the direction of your work? Do you ever truly find yourself in a good place with your images, or are you always searching for more?
SCW: I am always finding my voice in my photography – it is a journey, so to speak. Photography is a language and focal point as it relates to life. Sometimes it’s a reflection of myself. On the other hand, sometimes people do not understand your language and they fail to see your vision. It’s crucial that you believe in yourself in a creative process - nothing else matters as much as that. Photography allows me to create and push the limit I feel, it’s a sanctuary.
MK: How do you know if you’re ever really done with a specific body of work? Do you ever go back to revisit images or collections to improve upon what you felt was previously finished?
SCW: Most of my works are ongoing for various reasons. Simply put, how do you stop life and all the reasons for living? From time to time I will revisit and tighten up the body of work.
MK: Thank you so much for your time and energy with this interview, Sandra. I appreciate every moment you have given us. Let’s finalize this with some thoughts on what you have coming up next. What might we expect to see from you in the coming future?
SCW: Thank you, Michael, for your valuable time for this interview, especially during the time of pandemic. I truly appreciate it! I have other projects including ones focused on ecological and environmental issues which are already a great concern and will only grow greater with growing population, rampant consumption, and loss of natural habitats.
You can find more of Sandra’s work on her website here.
All photographs, ©Sandra Chen Weinstein
