Lala Meredith-Vula was born in Sarajevo and moved to England in 1970. She attended Trent University, Nottingham(1984-/85) and Goldsmiths College (1985-88), then the University of Pristina, Kosovo, for postgraduate studies. In 1988 she was one of the exhibitors in the seminal Young British Artists (YBA) show 'Freeze', organized by Damien Hirst. Since then she has exhibited internationally and has been a strong advocate for art education.

In 1988 she was one of the exhibitors in the seminal YBA show Freeze show, organised by Damien Hirst. Since then she has exhibited widely internationally.From 1989 she has lectured at various colleges in the UK, US and Kosovo. In 1995 she set up the first photography department at the University of Tirana, Albania, and in 2000 a photography department at Priština University.

A particularly significant experience for Meredith-Vula was a series of photographs in Kosovo showing haystacks built by Albanian farmers. The juxtaposition of her cosmopolitan art experience with her provincial origin, asking the question "What is art?", provided a resolution of the two: “Having studied art for many years and visited many galleries throughout the world I soon found that the context of a work of art played a major part on where it is placed. For all my research, it took my returning home to discover the real significance of my search, it was in the fields of my former home town that I witnessed a way of life as old as the land itself where farmers went about their business, everything had its place. Within all this, I saw that somehow the farmers were unconsciously creating strange, sculptures that had the presence of modern sculptural pieces. Here part of my search was over. I had found the meeting place between my new world of art, being an artist, and my past, in the landscape of Kosova”

She has also photographed women in Turkish baths over a two year period (6 months of which was gaining permission), and a series showing women standing and moving beneath the surface of water. She has explained this: "Women and Water" is about the beauty and imperfection of the free body underwater. Many women feel themselves deformed by social influences particularly in the West. In the water they are free to dissolve and re-appear as a part of nature both classical and expressive.

Having studied art for many years and visited many galleries throughout the world I soon found that the context of a work of art played a major part on where it is placed. For all my research, it took my returning home to discover the real significance of my search, it was in the fields of my former home town that I witnessed a way of life as old as the land itself where farmers went about their business, everything had its place. Within all this, I saw that somehow the farmers were unconsciously creating strange, sculptures that had the presence of modern sculptural pieces. Here part of my search was over. I had found the meeting place between my new world of art, being an artist, and my past, in the landscape of Kosova.

shows a series of women washing in Turkish baths in Albania. Here I have taken up the classical theme of bathing women whom I have seen in countless classical paintings. I have tried to make a modern version of bathing women, and in my research I stumbled into a hidden dream world of calm and purity, a safe place of mysterious beauty. These photographs are dedicated to the hope and beauty which I found amongst these women.

This expression was a common first greeting to fellow Kosovan people, when they saw each other for the first time after the war. It was a quick way of finding out whether there was anybody lost from their family. Kosova's traditions and culture are explored using the visual language of ethnic and anthropological photo documentation.

The beauty of these traditions, little changed from the Middle Ages, are rapidly disappearing, so their conservation in works of art are of poignant significance

is about the beauty and imperfection of the free body underwater. Many women feel themselves deformed by social influences particularly in the West. In the water they are free to dissolve and re-appear as a part of nature both classical and expressive.

Lala has lectured at various colleges in the UK, US and Kosovo. She established the first Department of Photography at the Academy of Art, University of Tirana, Albania. Sponsored by Kodak, Pentax the George Soros Foundation and the British Council. Her students subsequently produced the photographs illustrating the 1995 Soros Foundation Annual Report.

Lala, often focus on doing a series of photographs. She did a series in Kosovo showing Albanian farmers' haystacks, a series of photographs of women in Turkish baths, and a series showing women standing and moving beneath the surface of water. How did she decide on a theme for a series?
When I visit a place, I use sketchbooks to record ideas as well as taking digital test shots. From this collection of material, I find the subject which has inspired me the most from which I could create a series.

When a subject has inspired me I hope to record it in a way which will inspire other people to see its visual beauty. It reflects my feelings and emotions and I hope to convey these to others in my work. There is no specific “social” agenda but as a half-Kosovar British artist and using these strands of my life, a social dimension can be observed.

I shared a studio with a group of students which included Damien Hirst in my final year at Goldsmiths’. It was interesting being involved with this group and taking part in “Freeze”. It was an experience to be with this group and part of history. One abiding memory was when all us artists had to paint the building – space ourselves before we could put up the exhibits.

The Art Foundation course at age 18 was the beginning of my desire to become an artist.

Any artistic creation is the result of the combination of so many factors: the artist’s predisposition to be passionate about a subject and desire to communicate this, in whatever form is paramount; a great deal of hard work and preparation; to remain true to yourself, as you perceive this truth.

My last exhibition in Kosova, this year in May was the biggest space I had been offered; the best media coverage and I feel, the best work I have produced so far.
I love the haystack photograph with Pristina bus station below it. It has both humorous connotations and aesthetic appeal. When I first photographed it, I thought it conveyed contradictions and contrasts we all experience now.

I use photography because it is a quick way of recording moments around me.

In America and Australia people have found that the nude series is often censored from my web site. I feel helpless and just laugh about it.

Baths-It took me 6 months to persuade the owner of the baths to let me in just to draw first of all and once I had done drawings and paintings I think he and some of the women subjects could see that I was not interested in their faces but more the architecture of the baths and their bodies as subjects with in the baths. I was not making peep show images but dignified images honouring the body. Some women objected, the ones that did not care so much were gypsy women. The first time I took the camera in the baths the lens steamed over and it took half an hour for it to warm up and not keep steaming over. After that I would warm my equipment up in the oven at 40 C before going in the baths. People have told me that I could have damaged my equipment of medium format and 35 mm cameras but they work to this day!

The drawings are part of the creative process as photographers ( not using Polaroid or digital) do not have access to the results immediately - I used drawing to draw what I have taken and what I intend to take. The drawings, sort out my mind artistically. I never intend to show the drawings but occasionally people who visit my studio like the drawings and I have sold drawings before. I have also published some drawings so perhaps I will show them later on.

I love painting the human figure and I am always looking for ways that photography can look like painting or be more artistic. In some of these pictures the figure looks painted. Also, I am fascinated in surreal images: none of these images have been manipulated so it is complete amazing imagery yet a real happening. I draw what I might want to capture from a situation and see what this visually means. Then if I have captured or noticed something spontaneous in the moment. I might later draw this to compare and see where I am going with an idea.

I like the impressionist painters and how they deal with women and water. Degas and Bonnard’s studies of women in the bath and Cézannes bathers. I also like earlier painters Ingres who also did paintings of Turkish baths.
 

Young British Artists or YBAs  also Brit artists and Britart  a group of conceptual artists, painters, sculptors and installation artists derived from the Sensation Saatchi Gallery Exhibition.

Meredith Vula Nude painting on rolled canvas painted with artists acrylic paint. Hand painted copy.

30" x 40" canvas

R.R.P. £179.99

SALE Price £97

Meredith Vula Nude Bather painting on rolled canvas painted with artists acrylic paint. Hand painted copy.

30" x 40" canvas

R.R.P. £179.99

SALE Price £97

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Photography ideas and tips for Kids

Photography ideas and tips for kids. Includes the basics of photography, including basic parts of the camera, lighting, focusing, visualizing, and practice does make perfect.

Kids of all ages seem to be naturally drawn to cameras. Even the youngest love the idea of picking up what appears to be a simple box, pressing a button or two, and receiving a permanent picture in return. Kids also do not seem to care that although they intended to take a picture of the family dog, all they really took was a picture of the bottom of his legs and the grass. Here follows a few tips to pass along to your budding photographers. I hope that when they are finished snapping away, some of their photos will be worthy of the family photo album!

The very first step in teaching a child how to take a picture should be a simple explanation of the camera itself. If a child knows what each part is and what it does, he or she will be better able to use it. The basic parts of a camera include the lens, viewfinders, shutter, flash, door where film is loaded, counter, the film itself, and in some basic models the film advance wheel and re-winder. Teach them how to load the film and how to unload. Show them how to read the number of pictures used and how many are left.

Once a child understands the basic parts and operation of each, they will be ready to start snapping pictures.

Explain that the camera should be held steady while in use. This includes the picture taker's hands and feet. If the photo taker is moving, the finished product will be blurry. They also risk taking a picture that will include only part of the intended photo.

What they see through the lens will be in the picture. This includes hair, fingers, thumb, camera strap, etc.

Explain to them that although we see in 3D, a camera only produces a flat image. While we may see the family dog, with the flower box behind him, what the photo may end up showing is the family dog sprouting petunias from the top of his head. If they will take a moment to visualize everything they are seeing in the lens, they will end up with much more focused pictures. (That is unless they are comedians at heart and wish the dog to have petunias growing from the top of his head!)

Show them how moving closer or farther away by just a few steps can alter dramatically what will be in the finished photo. Being too close will often produce a fuzzy photo, while being too far back may allow too many subjects, losing the intended subject all together.

Lighting is very important. Sun light should be behind the photographer. Even if they take a picture and they think they can see what they are taking a picture of, if the sun is in front of them, the finished photo will most likely be nothing more than a big sun blot. Lighting inside is just as important. Have them stand with lamps or overhead lighting behind them as much as possible. Make sure there is enough light, and if not, use a flash.

Shadows should also be noted. Keep subjects out of the shadows or they will end up with nothing more than a dark picture with unrecognizable objects.

Practice does make perfect, and a child who is told not to waste film will never learn. While film should not be just snapped away, if they are not given a chance to experiment, they will never learn to be photographers, not even the kind who produce all the important photos for the family album. Giving kids ‘homework’ of photos to take is an excellent way to teach them. Give them a camera and a few rolls of film and send them off into the backyard with an assignment to take photos of different objects, subjects, and views. After developing them, sit down and talk about what each photo was intended to portray and what the finished result was. With enough practice and interest, you may be able to hand over the family camera on the next vacation to your budding photographer, giving yourself that much more free time. At the same time, you will be giving your child something extra to keep them occupied, meaning you will not hear the dreaded, “I’m bored, there’s nothing to do”!