The drugs were rampant, abandoned buildings were everywhere, it was hard to get jobs, and I was capturing an immigrant society who was trying to cope and survive in a new location that was often unwelcoming and sometimes hostile.
We fought our way out of the dust bowl for economic uncertainty, poverty and unemployment due to huge disparities in wealth distribution in the modern day.
Most of my pictures are representative of my dreams, hence the surrealism touch. The rest are all my fears or obsessions…
In the presence of books … one always whispers
I’ve always been a water baby, and even in the beginning of my career I can see it coming out a lot in my work.
I come from a very Catholic country where images of wounded saints and the ideas of punishment and suffering are prevalent.
I have always thought that angels were watching over me throughout my life. They have saved me during the dark times and have lifted me when I needed it.
I am a separate person, but, at the same time, an integral part of the single, huge organism that is the universe.
Somewhere between Karaj and Qazvin (two cities in Iran), in a dry desert, there is shelter for dogs.
I would never hurt the children. My attention to the children is not as predator… But as guardian. The scream that came from behind me was loud.
For Jim Lee, fashion photography was always about his models rather than the clothes. On publishing his memoir, this provocateur of the 1960s and 1970s reflects on his work with Ossie Clark and Anna Wintour – and where the likes of ‘Vogue’ have gone wrong
This ain’t your mother’s street art. It’s your grandmother’s.
