I had the absolute pleasure of being able to interview photographer Ole Marius about his work:

1. Tell us a bit about yourself. What drew you to photography?

Well, I am from Norway. “normal” childhood in the magical 80s. Was early on fascinated by Hollywood film and the beautiful looks they had. Maybe its this beauty I am trying so hard to have in my images?

I have always been driven towards the world of creativity but in short, I wanted to be a film director but living in Norway in the late 90s, film director wasn’t the thing. For a long time I had a passion for photography so when film studies didn’t work out it was natural for me to continue to photography and I don’t regret it. The freedom you have with a camera is just magical.

2. Did you study photography or are you self taught? What are your opinions on art education?

I did study film for 2 years and photography for 2 years. The photography school was really good. I learned everything about photography except the world of Fine Art. I think art is something that comes from within but art history is very important to learn, to see the bigger picture and to understand why things are what they are. Its important to remember that every move you do will shape you differently. if you becomes an assistant, that will shape you in this way and going to an art school instead of photography school will shape you in that way. It can be smart to think about what different choices do to you.

3. What is the most challenging or surprising aspects of being a photographer?

My biggest challenge is to finding new ideas/projects to work on and not to repeat myself too much. I find that very difficult. There are some thing I just don’t get tired from, like windows and gas stations but I am telling myself please let go of it. You are done with it!!

I have only done artsy stuff and dreaming about galleries and exhibition around the world, but not in my wildest dream would I think it was this hard to enter that world and trying to stay there.

4. Nowadays, photography an oversaturated market with both amazing and mediocre imagery. Does this concern you and how do you manage to stay motivated to create in such a crowded environment?

That’s is so true but I don’t get stressed by the numbers of artist out there because only me can make what I do and only you can make what you do. When participating different shows, I get a lot of great feedback which also tells me that i am on the right track and it motivates me even more. The creativity is just something inside of me that needs to come out. this is a process that goes on regardless how many great photographer is out there.

If you want to lose motivation is just to go on social medias and see all the fantastic photographers doing great things.

5. Do you think social media is helpful to photographers? How has it affected your practice and is it something you enjoy?

I really don’t like social media and what it has become. Its making us stupid(included me) but its like micro plastic, its everywhere, so you need to be there. But its a great tool for research especially when you are younger and want to find you style. its a great way to consume images.
There is too many visuals out there so we don’t enjoy the images in the same way we used to. We will probably look at an image for 2 seconds now or less and click “like” and move on..so its important to actually go and see an exhibition and look at the quality of the work. Spend more that 3 minutes on a images/painting/..what will this do to you..?

6. Do you think the photographic industry is in a good place? Is there anything you’d like to change about it, and the way that images are consumed?

In some ways Its the same as the rest of the industries, its hard and its all about money and knowing the right people. But there is a lot of good people that you can work with. Its a hard business to make money, due to all the expenses connected to showing your work. Printing, frames, traveling, commissions. So between early stage- photographer and mega star it can be challenging. I like it. Hard work is rewarded.

7. Your work is highly cinematic, often drawing on influences from artists such as Edward Hopper, Alfred Hitchcock and David Lynch. What is it about cinema that captivates you and do you think that a medium that allows for narrative through movement can be adequately translated through photography?

I love cinema. You can make such great illusions and you can also combine sound and photo. But its what you can do with lights that fascinates me the most.
How you can make a room/ house into what ever you want..scary, romantic, noir etc. I once went to where they film Twin Peaks. i have never been so disappointed. It was this run down town but it was a great lesson to be learn. The power you have to create illusions with lights, props, models etc.

8. Are there any disadvantages to creating such stylised work and what do you think makes an image cinematic?

For me, cinematic style is the only way I know of and it comes natural to me. Its a lot of physically work behind each image which I like. Really enjoy working outside, you have to carry a lot of equipment, deal with many obstacles on your way. Great fun…afterwards:) I think the use of light, props and models makes it a “classical” cinematic image. I see a lot of nature / street shots that feels very cinematic which is without any props but it has a feel or mood.

9. Suburban America is a theme that runs through each of your series. Why do you think that this theme is profoundly cemented in the work of a lot of artists and photographers? What is is about America that is so captivating and how does your own upbringing in Norway filter through your work?

I was Americanised early on with super heroes and films. Many of the 80s films was about life in the suburbs so I think its was how the suburb seed was planted in me. I too grew up in a suburbs so its a part of me.
What Hollywood do so well is creating great illusion. The illusions I got served as a kid, was beautiful suburbia life with a lot of scary/ funny/romantic/supernatural things happening. So for me America was this beautiful, perfect place which I wanted to be part of even today (in my images).

10. You’ve shot quite a number of different series, yet still manage to keep a consistent style. Can you talk a bit about how you developed your style and remained consistent whilst exploring different topics? How do you make sure you’re not repeating the same imagery over different series?

Again, its that obsession of cinematic beauty which is so present in my mind that i don’t think of it and its just autopilot all the way.. the backside is that I am repeating myself too much.
The style was developed by combining film studies with photography studies and adding spices like Lynch, Crewdson, Hopper, Spielberg etc.

The ideas I get comes with this Cinematic wrapping, I am not good at communicate in other photographic languages.

11. What kind of process do you go through when creating a new series? How do you get the initial idea and at what point do you know that you want to create a series, as opposed to individual images? Additionally, how do you know when a series is complete?

Sometimes it starts with an idea which will lead to other ideas and then I know this is series material. Some times its just one idea and it stops there. Listening to your gut feeling is very important. It tells you when a series is done! I just feel it. With my series “Salesman” I ended it in 2016 but in 2017 got some new ideas and in 2018 I felt like Michael Jackson, This is it! Its hard to explain but its really important to listening to your body and gut feeling. It will tell you if you are doing good or bad and much more.

12. How do you find working with other people to create your images? Can you talk a bit about the process of finding models/locations/assistants for an image and what the general timescale from conception to completion of an image or series might be?

Most of my ideas comes as an image so I know roughly where to do it, do I need forest, small town, old building etc?. Sometimes I need to search my way to it on the internet. Google maps is a great tool. Mostly I use people I know as models because its them I picture when working on the idea. My dear uncle which is getting old now has been a great model and assistant for me but at some point I need younger hands, but we had a lot fun on our road trips.

The process with an image is like with films. I get my idea onto a piece of paper, find location/props/model, press the button on camera and then post production. Its difficult to say the amount of time I use on a series but its everything from 6 month to a year-ish.

13. What is your favourite image you have created so far and why? Do you think you have a defining image that people recognise as yours?

Oh horrible question:) but as an Hopper fan I am very pleased with my latest image “Slow night” which is a homage to Hopper. We had to drive 3 hours to get to that cafe and it was freezing cold outside where the camera happened to be. Its such a joy when everything just works together and the result becomes something which does not involves 6 more hours drive.

14. In your opinion, what make a good piece of art? What was the last image/piece of media that captivated you and what was it about it that left an impression on you?

For me good art is when it makes me stop and forget time. I just fall into the piece. The strongest encounter with art ,these days, must have been “the Joker” what a great movie. the acting, critic of todays society, the mis-en-scene ..eveything. I also love Banksy. What ever he does I fall in love with.

15. Your work is quite mysterious and ambiguous. Do you feel that this is an important aspect of your images and how does adding a unclear narrative affect the viewer’s relationship with your photographs?

I really love mysteries. Things that can’t be explained is fantastic. So I like to bring some of that into my work. People have a need to explain and know everything but I like to accept that sometimes theres no answers..

16. How often do you consider the viewer when creating images? Do you create work for yourself or for others?

I create images for myself, well i create what comes to my mind. Lately its been more personal things.
If It was only about money I wouldn’t use old men as a models that much! 🙂

17. How often do you search for inspiration and do you ever feel pressure to create work as your career has progressed?

I am always on a look for new things that inspires me. In the last years its been mostly painters and directors who inspires me.
I feel a “good” pressure to create more as things moves forward. As long as I have this need to create I will not stop searching new ideas.

18. Copyright, especially in the technological age, is a huge problem. What actions do you take to ensure that your work is not being used without your permission, and have you had any experiences with plagiarism? Is this an issue that you think about and what are your thoughts about intellectual property rights for artists?

Its way out of my hands. The good old technology has made it hard to have any control of your images. It says on my website that any prints without my COA card is not part of my edition. If theres anyone using them without permission the galleries has lawyers who will look into it.

Plagiarism is difficult. Everybody gets inspired by someone and everybody “borrows” from others. We can see that every day in social media. To copy an image is no good but to be inspired , by fore example Crewdson or David la chapelle and make it yours is how the art world moves forward and always has.

19. If you had unlimited time, space and funds, what would be a dream project you’d like to shoot?

I would love to rent a big car full of photo equipment and drive around in the good old US and have access to models, props etc.

20. What are you currently working on at the moment, and where can people find more about you and your work?

For a long time I have wanted to do an series about todays society. After reading the book “Sapiens” all the pieces fell into places.

I am also diving into an old Norwegian photographer who travelled around Norway in early 1900s.

It will be on my website and I will try to show more behind the camera on instagram but since I am just me(and sometimes my uncle) I don’t have any arms free to take behind the scenes images.

You can find more of Ole’s work over at his website or Instagram!