关于一天

About a Dayis the second public exhibition by beauty and fashion photographerVictoria Zschommler. A regularVogue Livingcontributor, Victoria splits her time between Melbourne and Paris shooting for the world’s most illustrious brands and titles, includingYSL,PaspaleyandBurberry. Her show will run from November 22 until November 24 atAt The Abovein Fitzroy, Melbourne. Private appointments will also be available from November 25 until November 29.BelowVogue Livingquizzes Victoria on the details of her new personal body of work.What was the inspiration behind your upcoming public exhibition,About a Day?The story behind this show is an unapologetic manifestation on the passing of time shown through organic matter and its surrounds in a still-life setting. It’s hard to pin-point where the inspiration behind the concept came from, as I am inspired by so many things around me; places, people, books, art, nature, light. These all feed into my thoughts and ideas.Flowers and fruit are a recurring theme in your personal work – can you explain your fascination with nature?It’s a definite fascination, though not my only one. To me, flowers have their own personality. I love finding something weird in what is so beautiful. I’m quite a hands-on photographer and I get involved in the styling of my pictures, and though I don’t work on floral arrangements myself, I do like capturing the life (or death) a flower holds.This is your second public exhibition – how do you feel the works differ from the first?It has been three big and busy years since my previous show. I’ve shot with some incredible people on some fantastic jobs around the world, and my point of view has developed. My previous show was shot in London with another beautiful Australian florist, Simone Gooch (known as Fjura) and it was solely a still-life floral series. With this work, I have a lot more to show and say. There are quite a few components to take in - the organic matter, sunrise over water, landscapes, decaying elements, along with some human-made objects and the colour-centric sets I designed. This series was shot over a year – during which time the work evolved organically with close friend and floristLottie Phillips, resulting in Lottie’s arrangements becoming one with all the elements, and the story as a whole.Your work as a photographer spans fashion, still life and interiors for some of the world’s most famous brands and titles. What drives you to create work that is personal?I feel like the two go hand and hand. People might disagree, but in my world, one can’t exist without the other. Without sharing my personal work and point of view, I’d be less likely to land work with such brands and titles. Equally, without the commercial side to my work, I probably couldn’t fully develop my personal projects or challenge my point of view. When working a busy schedule, my personal work becomes a really special outlet that I value and preserve.Do you find it more difficult creating work that is completely personal than responding to a brief?I find answering these questions the most difficult thing of it all! Jokes aside, yes, definitely. My expectations are far more complicated when it comes to my personal projects – even though I am lucky to get some amazing shoot briefs that come with very high expectations. When composing my own work, I question why I do what I do, how the pictures make me feel, and what the message is behind them. That’s hard hitting stuff when working creatively.Did any images wind up on the cutting-room floor?Yes, absolutely. There was quite a large selection in the end. I had to be ruthless – about two-thirds were cut. When I shoot and when I edit, it’s what feels right that makes the final edit.Any thoughts on what you might like to explore next?I have plans to show a body of work in Paris next year (my second home). It might be this one, it might be another. I’ll continue to work on it, and report back.