Maybe I must hold my own hand
‘Maybe I must hold my own hand’ is a new story photographed by Kristina Shakht, which opens a theme of womanhood through the prism of isolation. The editorial is co-directed with Bren Cukier, who emphasizes the dichotomy between loneliness and empowerment, a byproduct of self-realization and reflection.
Working with Kayaira Sherrod, a model in the shoot, the team depicts the emotional development of the character growing from the state of being alone to reaching the point of self-confidence. The juxtaposition of tenderness and sensuality with a hypnotic powerfulness offers the possibility of a personal transformation available under harsh circumstances, providing hope through being resilient.
We speak with the team about the main subject, the conceptualization, and the process of working on set. Kayaira offers an optimistic angle to look at the state of loneliness, “Loneliness, for me, is not about feeling lonely, it's about the times when you are alone and feel physically like you’re the only object in a space full of opportunity for exploration or just silence.”
While Kristina continues to explore elements that recur in her latest projects, like fire, the symbolism of hair, and Polaroid images, Bren adds a medium of working with collage and typography. The new layers prompt the viewer to ask questions and reminisce about their own experiences from the past year.
Photography and Creative Direction Kristina Shakht Collages Bren Cukier Talent Kayaira Sherrod at Crawford Models
‘It’s a story about women and the way they bloom and shine in isolation.’
— Kristina Shakht
Hi Kristina, happy to present your new work in WÜL Magazine. What is this story about, and what are some of the main themes you decided to explore?
Kristina: It’s a story about women and the way they bloom and shine in isolation. It’s also about the body and reframing negative sexual experiences and sexuality, and regaining the power of how we want to be seen and what we actually are.
Bren: To me, it's about depicting the solitude that we all have felt over this last year, but in a way that is both celebratory and melancholic. Like with anything else, there is shadow and light - when we are cut off from others, we are able to reconnect with ourselves.
Kayaira: For me, this story is about the balance of vulnerability and sensuality. As a growing POC woman, I think I’ve been trying to understand how to navigate beauty standards and how to be gentle with myself while also being within my own fierce passion and strength.
‘My goal with the collage/handwriting layers was to bring that all to the surface a bit more, to externalize the interior in a more tactile way.’
— Bren Cukier
What was the feeling you were working to create by adding some new layers like collage and typography in this project?
Kristina: I just love the way Bren sees the world. I love her handwriting. I love how she goes all into the creative process. I only had some thoughts on which way it would be cool to go and gave Bren space to do her magic.
Bren: The way Kristina captures is so ethereal, but there is always a darker undertone to her work. My goal with the collage/handwriting layers was to bring that all to the surface a bit more, to externalize the interior in a more tactile way.
‘Loneliness, for me, is not about feeling lonely, it's about the times when you are alone and feel physically like you’re the only object in a space full of opportunity for exploration or just silence.’
— Kayaira Sherrod
How do you interpret loneliness in this photoshoot? Is it a physical or a mental state?
Kristina: I think loneliness has a very holistic approach here if you know what I mean. It’s more balanced and calm in a way that only your own mental state (anxiety/happiness/etc.) gives it an undertone.
Bren: I think K nailed the physical/metaphysical dynamic - her use of negative space in the frames, the poses of her subject, the emotions - they all combine to convey the complexity of loneliness; it is a state of both mind and matter.
Kayaira:Loneliness, for me, is not about feeling lonely, it's about the times when you are alone and feel physically like you’re the only object in a space full of opportunity for exploration or just silence. It can be mentally when you’re in a crowd and feel alone or physically just in your bedroom pondering about everything and nothing.
Work with Polaroids is tricky and requires good knowledge of its pros and cons. As you often choose this format, what are some of the things that still surprise you and enable you to perfect your work?
Kristina: I did a lot of Polaroid work in the past 6-8 months, I never used it before, but pandemic and lockdowns made me want to experiment more and try different formats. There is always so much uncertainty with Polaroid. The main surprise is how lovely and dreamy pictures turn out because a lot of times I double it on 35mm and have a chance to compare the result - Polaroid always has a magical feel to it.
‘I feel like I’ve built a strong relationship with negative space and balancing it the right way in each story to feel closeness and intimacy.’
— Kristina Shakht
The warm yellow light of what appears as a setting sun adds a remarkable undertone to the project emphasizing the model's state in this narrative. How do you approach the work with light and shadows - what do you try to avoid or include?
Kristina: I was trying to see in b&w or duo-chrome to get the right shapes that would frame the color. I feel like I’ve built a strong relationship with negative space and balancing it the right way in each story to feel closeness and intimacy.
Which moment from this project is most precious to you?
Kristina: I think when I saw the artworks Bren made, the project started feeling complete. Collaboration and the conversations we had before she started working with the images were really precious and an important part that made us both feel heard and seen. I also loved the shoot itself because it was very easy and fun. We were listening to Nelly Furtado and just having a very warm winter day.
Bren: When Kristina initially asked me to collab and sent me the photos - they were taken on a Polaroid 600, I gifted her before I left New York City, and it was just a beautiful full-circle moment to be able to do this project with her.
Kayaira: I think the most precious moment in this shoot was the full bedroom photos because Kristina and I just giggled, and it felt like a scene in a Sofia Coppola movie, for sure, super nostalgic and warm.
