SARA PUNT - What Do You See When You’re Not Looking?
Through her lens, Sara Punt (b. 1994, the Netherlands) searches for lines and shapes that the human body can form. Shapes addressing the issue of the way we view 'beauty', our 'shadow side' and 'sexuality'. Her current project ‘What do you see when you’re not looking?’ is an ongoing exploration of the human body, essence and form. A form that might change together with one’s point of view. In this interview with GUP, Punt reveals her own perspectives on the work that she makes, and future prospects on her career as an artist.
In your project you are addressing the theme of over-sexualisation of our bodies. When exactly did you start noticing that this is happening?
I don’t remember the exact time I started noticing this, but when I think back, I started dealing with this theme from a very young age. Even though I wasn’t conscious of it at the time, I remember when I was around ten years old that a girl in my class wore a cute crop top, and the teacher sent her home to change into something ‘less revealing’. Mind you, we didn’t have a dress code in elementary school and besides that, why does a grown man feel uncomfortable when a 10-year-old shows her stomach?
As a woman, even as a child, people tell you constantly to cover up, because of how others will perceive you. We learn that if you wear revealing clothes, you don’t value yourself enough and you’re looking for attention. The world watches more Pornhub than they watch Netflix, but the moment a woman feels empowered by being nude, it’s an issue.
You stated that you are inspired by “the eyes of a sculptor” and that your project explores the creation of different shapes and forms in relation to human bodies. By doing that, what would you say is the goal of your project?
My goal is to re-sculpt the way we view and experience our bodies; to become an observer of ourselves, instead of being consumed by the body you’re in and people’s surrounding opinions.I truly believe that when we start looking at ourselves as a work of art – as a sculpture – we would treat ourselves with much more kindness, and in doing so, it will result in more understanding and empathy for the world and the ones around us.
Imagine looking at your body the way you look at a painting on your wall. Some days you don’t even notice the painting in the room and other days you’re staring at it deeply; and you are happy that it’s yours. Some days it makes you smile, and on other days it makes you cry. Both is perfectly fine. Art is not made to be adored every second of every day – art is created to make us feel something real.
The concept of transformation seems to be at the centre of your series. How would you yourself define it?
We’re transforming all the time, non-stop. Our cells transform constantly, our memories are remade every time we think of them. We create, re-create, and re-use our words and perspectives every single day. Therefore, with this project I want to challenge the viewer, as well as myself, to transform the way we perceive and experience our human form.
When it comes to selecting models, what are the key features you are looking for in your subjects?
What I try to do is to make sure that throughout my work, everybody can find a photo where they look at a body and feel represented. That’s also why I started photographing men lately. At first, I only created with women because it’s more personal to me, but men aren’t represented enough when it comes to fine art nude photography, in my opinion. So, that’s something I would like to explore further.
Would you say that by now you have established a specific photography signature?
I do think I’m starting to really find my niche when it comes to my photography signature. Exploring the body as a breathing sculpture has been an amazing journey, that I now want to widen and expand to see what else I can create within that concept.