Untitled, Neg 43, Sheet 79461 (SKIN series), 2006. Selected as the cover image for Nathalie Herschdorfer's publication BODY |
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“As an African, I am automatically attracted to bright colours like sunny yellow - reminding me of my homeland. My skin and the sun have been married from birth, hence there was no debate about the black woman's back against the colour yellow. It's the joy of this union that brings to life the depth of my motherland.” |
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I’m delighted to be working with legendary photographer KOTO BOLOFO on artistic and curatorial projects. Since the early 1980s, Koto’s creative voice, which imbues his work with energy and a sense of timelessness, has taken many forms. Primarily known for his fashion photography, he injected joy into magazine spreads at a time when models were told to look moody – instead, he made them smile. He has worked as a photojournalist and an award-winning filmmaker (Sibusiso Mbhele and his Fish Helicopter originally screened at MoMA, NYC), has published close to twenty books and numerous artistic projects. |
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Untitled, Neg 51, Sheet 79454 (SKIN series), 2006 |
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“Koto’s photographs are part of the history of photography. The work has this iconic, sculptural strength…It captures the eye, seduces - but also astonishes. The effect is striking. His work belongs to the art world.” _ Nathalie Herschdorfer, Director Photo Elysée |
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Due to the breadth of his practice, many of his more personal projects have had little exposure. Koto and I have had many in-depth and inspiring conversations, and are now collaborating to bring these significant works to light. Watch this space for more KOTO! |
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First, a focus on SKIN, a commission for luxury paper manufacturer Arjowiggins, who asked Koto to photograph two nude models, reflecting the ‘skin-like quality’ of their paper. Works from the series are included in the exhibition Beyond Fashion, curated by Nathalie Herschdorfer, which has toured numerous venues including the Shanghai Centre for Photography and, most recently, the Haus der Fotografie (IPFO), CH. |
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Untitled, Neg. Neg. 52, Sheet 79446 (SKIN series), 2006 |
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“My aim was to get a natural bond between the paper and their bodies, and the sense of their being one, with fragile intimacy.” _ KOTO BOLOFO |
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While Koto always has a concept for a shoot, he works intuitively with light, movement and composition. For this series, his sky-lit garage created the ideal setting, allowing him to “paint with daylight to create life.” The sculptural quality and love of movement in these compositions comes from Koto's early training as a competitive gymnast. His deep-rooted instinct for choreography is evident in the subtle language of rhythmic curves and repetition across the work. When he photographs a subject, he himself enters the dance, channelling his “entire spiritual energy to get the perfect photograph”. |
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Untitled, Neg 17, Sheet 19 (SKIN series), 2006 |
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“My photographs are my weapon of strength to bring joy to every skin colour” _ KOTO BOLOFO |
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Untitled, Neg 46, Sheet 79447, (SKIN series), 2006 |
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Koto was born in Lesotho, South Africa in 1959. In 1963, his family fled to London, where they lived as political refugees for 25 years. Self-taught and for many years working without assistants, Koto’s remarkable resilience, determination and belief in his creativity enabled him to break through in the fashion industry, at a time when many doors were closed to him. Koto’s work was first published in 1982 in New Sounds New Styles, and his career took off in 1985 when he was commissioned by Yohji Yamamoto. Over the next few years, two key figures catalysed the evolution of his unique voice by encouraging him to do things his way. He started working for Franca Sozzani, the chief editor of the inflential Lei Magazine (part of Italian Condé Nast). Sozzani had a unique approach, giving photographers unprecedented freedom. She told Koto, “Do what you want, say what you want… I trust you.” In 1988, Koto was approached by Richard Avedon, who recognised his talent and introduced him to Condé Nast editor Alexander Liberman, which led to his iconic cover shoot of Madonna for Interview. |
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Left: Untitled, Neg 13, Sheet 7 (SKIN series), 2006 Right: Untitled, Neg 5, Sheet 7 (SKIN series), 2006 |
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Aside from his prestigious magazine and advertising work, Koto has consistently been drawn to create independent personal work. His poetic series AIR was exhibited at the prominent French publishing house, Contrejour, Paris in 1998, where he collaborated closely with its founder Claude Nori. In 1994, he returned to South Africa with his father and documented their experience in the film The Land is White, the Seed is Black, which was awarded the Prix de Image de la Culture, France & Inverso Sud Aversa Film Festival, Italy. |
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“Koto’s images are magic. They are very energetic. They are so poetic. There is a simplicity, a naturalness...” _ Alessia Glaviano, Head of Global PhotoVogue |
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Untitled, Neg 53, Sheet 79488 (SKIN series), 2006 |
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Koto’s passion for book making, allowing him to draw on his personal experience to tell stories that go beyond individual images, all derive from analogue prints. During his second year at art school in London, he discovered the dark room, instantly falling in love with the magic of colour and black & white printing. This hands-on process quickly became his artistic outlet – he even adopted the nickname “Koto-chrome”! One of Koto’s earliest books Sibusiso Mbhele and his Fish Helicopter, based on his eponymous film chronicling the work of a visionary artist outcast by his own people, was published in 2002 and awarded the Les Rencontres d’Arles book award. Another significant project, The Prison published by Steidl in 2014 documents the 27-year incarceration of Nelson Mandela and the political prisoners of Robben Island. Read Koto’s full biography, here. |
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Untitled, Neg 54, Sheet 79452 (SKIN series), 2006 |
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All images © Koto Bolofo
With the creative support of Torvits + Trench |
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Diana Poole | art photography
advisory & curation |
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