Centrepoint Collective: Pablo Allison

The final interview from the series featuring members of Centrepoint Collective is with Mexican-British photographer Pablo Allison:

Please introduce yourself and your practice:

I always felt the need to communicate and try to find answers through my creative practice. I chose to use camera to achieve this, but sometimes find it quite difficult to call myself a photographer.

My work revolves around issues and experiences that have shaped me as a person. I believe that the most honest work comes from things that relate to you in one way or another.

I am particularly interested in concepts of displacement, divisions, control and contrast and tend to guide my work under a political umbrella, although I try not to make it too obvious.

Pablo Allison-1

How do you find your inspiration?

I think, my inspiration comes from all the things that happen around me, whether they are positive or negative. I am also stimulated by the street setting and the way it is in constant transformation fascinates me.

I am motivated and encouraged by people closely related to me. To understand their struggles and life experiences of my friends and family is something that brings a lot of determination to me and to my work.

I seek answers to all the questions I have; as a friend of my once said: ‘if your brain is no longer asking questions then you are no longer alive.’

Pablo Allison-2

Favorite piece of equipment:

I dont really have a favorite piece of equipment, but I have adopted the new technologies as a medium for producing images. I definitely like medium format film (Mamiya 7II), but it is becoming increasingly expensive and, as I am not in a position to spend and spend, I stick to digital technology.

Pablo’s exhibition Empowerment Through Art: Photography and Latin American Girls in London is on display in Southwark Council Atrium until 17th May:

Southward Show



About Tina Remiz

I am a documentary storyteller and visual artist of Latvian origin, currently based in the UK's capital.

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