We recently connected with Malo Sutra Fish and have shared our conversation below.

MaLo, appreciate you joining us today. Can you talk to us about how you learned to do what you do?

Becoming a visual artist has been a DIY path for me, yet I’m very lucky to be surrounded by fantastic mentors.

Initially trained in art history and art distribution, my photography was more of a hobby which I started as a teenager. For a long time, I was untrained in the darkroom and simply practiced image composition through my lenses. I was already experimenting with my film but not doing any of the processing nor printing I now do.

Then came the time I picked up my brother’s super8 camera in 2009; he had already introduced me to experimental cinema which I was very fond of. Since I was a teenager, I had spent countless hours talking with him, watching him work with super8 and 16mm and was already thinking about an experimental short to talk about my epilepsy. So when I started working on this project I had in mind for years, my process was both instinctive and recollecting what I had observed. This Little Light of Mine  meant to answer as a short film the question “how does it feel to have a seizure as a photosensitive epileptic?”. That film was finished in 2022.
This long unconventional path led me to put all the theories I knew about editing into action, which eventually led me to decide to step into the lab. I put in practice endless hours of reading, watching, learning about the craft, all these years of watching other people, of thinking and visualizing, like fine aged whisky in a photosensitive barrel; it all came through.
It’s been more than 2 years nonstop now of pure action in the lab, working with homemade developers, to create visual work centered on the use of emulsion both in still photography and moving image. From capturing the image all the way to the printing, the making of copies including all the processing and editing, my art encompasses all aspects of analog techniques. I also use digital editing a lot as well as scanning in order to distribute online. I don’t want to compare digital and analog as they are for me two very distinctive artforms. However, I am more interested in having a complete palette in analog. Emulsion remains the core of my art.

I have an ongoing music video project, 2 exhibitions with Flux Factory I curated and was part of – The Epileptic Eye (2023) with Sally Cinnamon, Cintamani Calise and Cristina Breazu which focused on how epilepsy impacts an artist’s work and practice; and PROCESS (2024) with Goran Ahlsen, Sandra Hamburg and Rafael Cuevas which puts forth photographers nurturing a full practice of the darkroom, down to the making of B&W developers, to shine a light on the making of a fine art print. You can watch the music videos online, OSEES – Scum Show (official); FLATWORMS – See You At The Show currently touring festivals. One still in the works for Shannon and The Clams.
Many more to come.

I am extremely fortunate to have met many professionals taking me under their wing, understanding my need for unconventional training (due to my epilepsy). Their faith in my work, their support in my training and their enthusiasm to collaborate is something I am immensely proud and grateful of.

MaLo , love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

Of course! I am a visual artist practicing photography and film, favouring an analog approach. Experimenting with the emulsion is what I enjoy most, using all types of film and paper to match the results I want. I am currently part of the experimental collective film lab L’Etna in Paris as well as a recurring member at Flux Factory in NYC. I collaborate a lot with AgX collective film lab in Boston. I have recently been a member of Gowanus Darkroom in Brooklyn, which is a wonderful place for photographers in NYC.

I have been photosensitive epileptic since the age of 7, which has greatly impacted my practice.

What can society do to ensure an environment that’s helpful to artists and creatives?

Support artists by buying their music through platforms like Bandcamp. Buy their merch, their albums and make sure all the money goes to them.

Support photography by acquiring prints, most artists have prints for all budgets.

Support filmmakers by going to movie theatres and start questioning what streaming has done to independent filmmaking. Likewise, what streaming has done to music.

Support artists by employing them and granting them time for their artwork, they will give it back to you 10 times in their loyalty and work.

Support art by not censuring artwork or rewriting history. Learn from it, understand it even if you don’t like it. Art is with Philosophy the cores of our human expression and tolerance.

We’d love to hear a story of resilience from your journey.

My condition, photosensitive epilepsy, has forced me to face a cruel reality: despite my knowledge, despite a Double Bachelor in Art History and Communication, despite my motivation, quick learning, problem solving qualities, despite all that, I could never become a part of the professional art world on a full-time basis. Part-time doesn’t exist, but it looks like I am now building that path. The pressure, the intensive computer work required in film making, production and distribution or in photography publishing are incompatible with my disability. I had to come to terms with this in my 30’s after many burnouts and dire health issues. This realization led me to a full-blown depression. Since a child, Art, Cinema and Photography had been spoon fed to me on a daily basis. My brother was to become a DP. Yet, I kept on hitting glass ceilings, despite showing talent. I decided to become a language teacher as I didn’t know what else to do. For 4 years my cameras were untouched, I completely put my projects on hold. I couldn’t socialize, all my friends were pursuing their ambitions, their artwork, their family lives, and as much as I loved them, my depression would only fill me with frustration and envy. It was very hellish in my head, extremely tormented.

I knew the only way out was within; perform a massive internal turn around. I love martial arts, and am a huge fan of Dante’s Divine Comedy, something in common with my psycho-analyst. The first thing was to finish my film This Little Light of Mine. The initial first step, or push, came from my collaboration with Yonatan Yudkowitz, a long time friend from NYC, on crafting the soundtrack. He nailed, as I knew he would, which put me back on the saddle.

Then Covid hit, and I used that time to create my own little art residency in my living room. The idea was to keep a daily practice to clear the mind, sharpen my lame soul back into shape. First were walks in the forest with my digital camera, followed by a membership at the experimental film lab L’Etna in Montreuil where I started processing film. My beloved analog cameras subsequently became part of my walks. If I was not in the lab, I’d be editing or writing.
The idea was to build consistency of practice – the only way to build skills. Discipline and embracing my fate: I should practice my art for the love of art and my own sanity. I used a lot of my past experience to distribute my work, but leaving the outcomes very open – que sera, sera. Art careers are mostly an illusion. Creativity is not linear and oftentimes a professional career can thwart personal work. I let go of the professional highway and decided to go on the path of many before me; pure necessity of the practice for the practice with one goal in mind: learn and master the skills along the way keeping in mind Zen Master Hakuin’s teaching to go beyond fear, beyond doubt.

My art is now blossoming, I know how to organize myself, I collaborate with many art collectives, my work is shown in festivals and exhibitions, I make music videos for some of my favorite current bands. Each project brings in more mentors, more peers to work with, more water to my well. I have made peace with my body and can now truly use my condition as an ally in the most poetic and transcending way.

Making money from art is one thing; I mostly want to be produced, funded and sell my work. Yet, I will never give up my freedom to choose, my freedom of time and freedom of leading a healthy life. I love transmission, and am set to make a living with teaching both art and language. Teaching is a powerful grounding that I find necessary in my art practice. I need to break from both worlds, yet always need to connect back to them. I found a beautiful balance between an art of life and a life of art.

My brand is this: I have a unique sense of light, let me share it with you.

Contact Info:

• Website: https://www.malosutrafish.com
• Instagram: MaLo Sutra Fish
• Other: Youtube links to music videos
  Osees – Scum Show (2022)
  https://youtu.be/U0SlPN-7V8g?si=IuFnWyqlRZ0QzncAFlatworms – See You at The Show (2024)
  https://youtu.be/t8gSa3QJZjI?si=Hqna9dUXcAaFS1Q3

Image Credits

Personal Photo: MaLo by Goran Ahlsen (Gowanus Darkroom, 2023)
Additional photo: all by MaLo Sutra Fish – FLATWORMS See You At The Show screenshot, Vienna Shorts Poster for OSEES Scum Show, Leeds International Film Festival for OSEES Scum Show – This Little Light Of Mine Poster OSEES Scum Show screenshot – PROCESS Poster