Everyone Can Be an Agent of Change
Guillermo Cassar is fully immersed in the process of creating, from the conception of an idea to choosing the right materials to work with, as a particular film, to scanning the photograph. While his main interest stems from the world of nature and biology, currently his focus grows towards physics. To be a responsible agent for change is an idea, which allows CASSAR to drive attention to topics such as sexuality, feminism, and environmental issues.
Aside from nature, CASSAR is researching the human, through the mix of fashion and pseudo-docu look and feel, his unique perspective surfaces. Emotions and the state of being are the focal points, helping to progress with the narrative, telling a story of the individual beauty. His work is sensitive and sensual; it introduces alien elements to the final result of the photograph.
Guillermo Cassar is a Mexico-city based photographer and Art Director, originally coming from Veracruz. We reminisce with CASSAR about his summers as a kid, the games he used to enjoy, and the experiences of childhood friendships. CASSAR speaks about the steps he took from self-learning the discipline to shooting fashion stories for clients.
Veracruz
Let’s speak about the city, your hometown, Veracruz. Do you still visit it? How is it different from Mexico City?
Yes, I visit it constantly, it's my place of refuge when I get stressed from Mexico City, which happens very often since I live in the historic center of the city, which is a very crowded place. Veracruz means literally ”a true cross,” a name given by the Spanish colonizers 500 years ago. It's a very relaxed medium-sized beach city. It's a conservative city, so if I wanted to develop artistically, I had to move, and Mexico City was the ideal jump to develop before moving to another place.
‘We were usually looking for abandoned houses to enter. It was something fun and mysterious. In the evenings, we used to meet to tell horror stories in a park near my house or catch some crabs in the middle of a rainy night.’
Childhood
What are your most memorable moments from growing up?
Well, I was always a kid who liked to think outside the box; therefore, it helped me to have studied in a Montessori school. The summer was my favorite time of the year; I started going to camps from a very young age. I enjoyed the contact with nature as well as the activities related to adventure, the counselors led; for me, it was a place where I could really be me. I always used to interact with those who were adventurous. This reminds me of going with my friends to ride bikes or skate. We were usually looking for abandoned houses to enter. It was something fun and mysterious. In the evenings, we used to meet to tell horror stories in a park near my house or catch some crabs in the middle of a rainy night.
I was also in a Catholic school and all the time I had problems with the nuns since my friends and I liked to get together to talk about mystical issues or do things like "invoking spirits" although, in reality, it was to make the nuns angry since we were only playing games. One of my favorite games was the "house of horror." I got together with my neighbors, and we would choose a room and fill it with sheets and traps, making a maze with the lights off in one of our houses. We had to go through tests to be able to get out; we even used to put background sounds to make it more terrifying.
Which games did you play back then?
My favorite games varied, I loved to put together things, Playmobil, experiment games, magic tricks, video games, surfing and swimming, skateboarding, going out with my friends from the block, and looking for adventures. The things I did were generally very diverse since my childhood was in the 90s, a mix between the digital and analog, and I had to experience many things that the new generations didn’t have the opportunity to do. I'm grateful for that since I had a very fun childhood.
‘I tried to capture a philosophical point of view and develop my own vision of the universe in a very subtle way through symbolism in my work.’
Development
How would you describe the way you developed your skills as a photographer with time?
All the development of my photography skills was autodidactic. Starting from when I was a child taking nature photos with disposable cameras. I continued taking photos sporadically until my ex encouraged me to take a fashion photo. I started doing test shoots with models then several brands were interested in my photography, and I began receiving commissioned projects as well as editorials. That's when I rediscovered the analog format since the whole process and the quality of the final result caught my attention.
How did it change from a technical perspective?
The main thing that changed was the format, with each trip I made I realized that each journey is a process of self-discovery. That’s why my perspective on what I wanted to transmit was transformed with time. I began experimenting with VHS and various types of analog cameras, from disposable to medium format cameras, because I perceived this process as more natural than using a digital device. I have always experimented a lot. I don't consider myself closed to new ideas, which has helped me enrich my life in several ways.
What changed in the topics and themes that interested you then and interest you today?
Many things, I have had several stages, when I started with photography, I was struck by nature since I wanted to study biology at the university. As time passed, I moved to Mexico City and began to deal with metaphysical issues; I tried to capture a philosophical point of view and develop my own vision of the universe in a very subtle way through symbolism in my work.
Over time, I became interested in dealing with situations such as global warming, sexuality, politics, feminism, brotherhood, and the evolution of human emotions. Currently, I am very interested in topics related to science, especially physics. I believe that everyone from their place can be an agent of change.
‘I usually check each photograph before scanning it, since it speeds up the process. I also check that both the scanner and the roll are clean without dust, so I wouldn't need to retouch the image.’
Formats
You shoot on different formats as 35 mm, 120mm, VHS (CCTV styled images), while at times adding graphic art elements to the photograph. What’s your usual process from a technical perspective such as choosing a film, developing it, scanning, manipulating the result?
I have always been very visual, it took me time to decide what type of film I would use since each roll has different amounts of grain, color, and ISO, depending on where it's developed there are variations; therefore, you have to be very specific in what you want to see as the final result. I usually check each photograph before scanning it, since it speeds up the process. I also check that both the scanner and the roll are clean without dust, so I wouldn't need to retouch the image.
What do you enjoy the most?
Manipulating the result is the process that I enjoy the most, it's where I must choose the materials that I’m going to use, the colors - all fitting in with the narrative coherence of the story.
Red
Red is a color you return to a lot in your work. How do you usually work with color?
I'm a little obsessed with color. My main source of inspiration is emotions. For me, each color has a different context, no matter how subtle the difference is, this is how I work with the colors in the photos. Red, in particular, for me, represents the vital strength as well as a certain melancholy and beauty.
What are some of the other uses of red outside the scope of your work, which you like?
Well, I have always liked red. I consider it a very sexual and powerful color. I love the intense and dark red lips, the red of the sunsets, the intense red of the blood, the red lighting in some underground clubs, the color of warning signs. For me, it's a color that brings life to things.
Editorials
How do you work on the new idea for an editorial?
I usually start from choosing a topic to develop, based on that I choose people who will form the team, and talk to them to be in the same mood. The next step is to receive feedback from everyone to be able to do the final storyboard.
Where do you start building a story?
You need to have a clear idea of the concept behind the story, scouting the location, models, props to be used, knowing what is viable and what's not. With all the elements defined, everyone could follow the line that the photoshoot is going to take.
Is it a mutual process you go through with a stylist, for example?
Yes, I try to get everyone involved in each project.
Upcoming Projects
What are your plans for this year?
I still do not know, everything seems uncertain because of the pandemic we are facing. What I'm doing in the meantime is working with my inner self, hoping that the quarantine ends soon, so I can continue planning editorials and look for an agency to represent me. I would like to move to Europe for some time and see what happens.
What are you working on right now?
Now I 'm working on parallel projects to photograph with a partner. We are doing very interesting things, but I would not like to tell much until the project progresses further.
