Der Greif X MPB: Behind the Image with Mayya Kelova

Der Greif introduces Guest Room Scholarship awardee Mayya Kelova, a conceptual artist working with photography and moving image. She is from Turkmenistan, of Turkmen and Georgian origin, and is currently based in Tbilisi, Georgia. Featured in Renée Mussai & Belinda Kazeem-Kamiński’s Guest Room "Response-ability — Touch/Change — Otherwise", her image from the series “Forgiving” touches on a personal journey of self-forgiveness and the responsibility intrinsic to this radical act of self-care.

This format is brought to you in partnership with MPB, the largest global platform to buy, sell and trade used photo and video gear.

Der Greif: Can you tell us the story behind your image selected for Guest Room?

This image is part of a project titled "Forgiving," a personal project that I made a few years ago. "Forgiving" explores trauma resulting from violence from an intimate partner, but the central theme is self-forgiveness, portraying the process from silence to healing and regaining my voice.

Der Greif: Can you expand on the themes that your photography explores?

I have recently worked on personal projects and themes that reflect my experiences, as I did for the series "Forgiving". Among those thematics are trauma, migration, and identity. Identity, especially, is a key theme that appears in all of my projects.

Der Greif: What is the biggest challenge you have faced in photography?

There are several challenges, one of them being the limited opportunities available in the region I come from, which is Central Asia. To keep pursuing my artistic work, I often have to rely on opportunities that are specifically designed for international artists. However, I strongly believe that it is crucial to have local and regional support, particularly for emerging artists, in order to foster a less competitive environment and promote a stronger sense of community. Fortunately, there are options available for international artists, and I feel privileged to have received support from your organization.

Der Greif: Who are some photographers that inspire your work?

There are so many of them. Recently, I discovered Kin Coedel and their work "Dyal Thak," and Chloe Rosser and her long-term project "Form & Function." Photographers whose works I have admired and been inspired by for years include Alessandra Sanguinetti, Nan Goldin, and Diana Markosian.

Der Greif: What are you working on right now?

Over the past couple of years, I have been working on two projects. One is a long-term project about my Turkmen identity, titled "Something borrowed, something red". Through this project, I aim to gain a deeper understanding of the place where I was born and raised, and how its historical changes have influenced my identity. The project explores themes such as colonization, coloniality, cultural appropriation, and textiles. The second project is called "Stories we did not tell, secrets we did not share." Initially, this project was an attempt to reconnect with my sister after being separated for ten years during our childhood. However, as the project progressed, it morphed into an exploration of our relationship.

Der Greif: What kind of gear do you work with?

I work mostly with digital cameras. I recently acquired a Fujifilm X-T5 with a 35mm lens. But my choice of camera also depends on the needs of the project that I'm working on. If a project requires something very different from a thematic, aesthetic, or technical approach, I try to listen to that and adjust my equipment accordingly. For example, in the project "Stories we did not tell, secrets we did not share," a digital camera is used to represent the present, whereas a simple point-and-shoot film camera common during my childhood is used to represent the past as well as memories of my childhood and family photography.

Der Greif: What is the story behind the first camera you ever used?

The very first camera I used was from my childhood, but that was before I developed an interest in photography. If we talk about the first camera I actually owned and used with photography in mind, it was a gift from my mom that I chose myself. I put a lot of thought into that choice: a Nikon D-90, which has been with me since 2011 and I still have now. It was my only camera until recently, and all my first main projects were created with it.

Der Greif: What do you value in your gear today? And where do you stand on used gear?

The ability to achieve my intentions for the project is important to me. I feel that gear should serve as an assistant in bringing my ideas to life. This is why I decided to purchase a new camera. My old one lacked certain important technical features, which made it challenging to achieve my desired results in my projects. Since I do a lot of self-portraiture and performance and often work alone, I was searching for a camera that would make the process less time-consuming and provide me with greater independence.

Used gear is a great way to obtain quality equipment at a lower price, as well as an opportunity to work with gear that is no longer in production or offers something unique from an artistic perspective. I have previously sold and purchased used gear, particularly lenses, on other platforms and will gladly do so again when needed. I am currently contemplating acquiring a used medium format film camera, which is something I am definitely open to.

Der Greif: Can you tell us what this scholarship means for you?

Receiving this scholarship is incredibly important to me, particularly as an artist from Central Asia where opportunities from local sources are limited. I not only appreciate that my artistic practice is being recognized, but also that I'm receiving an essential resource for my growth. I'm grateful for the opportunity to connect with a global community of artists and curators, and I intend to use this support to develop my artistic practice.