A los 15 años, Sundsbø se enamoró -y no ha cambiado de opinión- de dos suecos: el maestro de la outdoor photography (fotografía de exteriores) Felix St Clair Renard, un hippie que nunca ha pisado un estudio o encendido un strobo y cuya idea de clímax emocional es un descenso libre de esquí alpino, y el ilustrador Mats Gustafson, esquemático practicante de la elegancia zen de los nórdicos. En los últimos años, el fotógrafo que aprendió con un visor roto se ha dedicado a algunas disciplinas paralelas: el diseño de carpetas de discos para los grupos Röyksoop y Coldplay y, sobre todo, la dirección de vídeos. No dejen de ver, si no lo han visto todavía, el proyecto Fourteen Actors Creating (2010), con microvídeos de un minuto o menos de grandes actores (Bardem, Portman, Damon…) jugando a los arquetipos. Cuando hojeen una revista de moda al descuido repasen la lista de fotógrafos. Si encuentran a un tal Sølve Sundsbø, abran la puerta y bajen por la pendiente. La travesía nunca será aburrida. Texto: Ánxel Grove
ENG: Norwegian fashion photographer and filmmaker Sølve Sundsbø infuses his imagery with sharp, otherworldly concepts and experimental techniques, including x-rays, 3-D printing, and pyrotechnic and smoke effects. He arrived in London in 1995 to pursue a short course in photography at the London College of Printing and became a photography assistant for acclaimed experimental imagemaker Nick Knight.
That pivotal role and Knight’s mentorship, which spanned four years, helped Sundsbø become a highly decorated fashion photographer in his own right. Voted best newcomer at the International Festival of Fashion in Hyeres, France, in 1999, his editorials have also featured in publications like Love magazine, i-D, Vogue China, Interview, Numéro, and Dazed & Confused. His advertising campaign clients include Gucci, Chanel, Hermès, H&M, and Yves Saint Laurent. He has also branched out into filmmaking, having directed short films for Nike, SHOWstudio, and Alexander McQueen, notably setting model Eva Herzigova on fire for the Florence Biennale. Although his works appear digitally altered, owing to the frequent use of trompe l’oeil and dramatic colouring through manipulation light, movement, and water, Sundsbø is actually employs many “old-fashioned techniques” and prefers considered snaps to a ‘shoot now, fix later’ mentality. www.solvesundsbo.com
