MAPA Books featured in Invisible Photographer Asia
Kevin Wy Lee runs the incomparable Invisible Photographer Asia - a vast resource of photographers, publishers, projects and goings on around the continent. He recently sent our editor some questions about MAPA and our future publications. See the interview below:
Mapa Books is founded by RJ Fernandez, an independent photographer and printer based in London. Formerly associated with the legendary lab BD Images, she has worked in collaboration with clients for publishers such as Aperture Foundation, Prestel, Phaidon, Rizzoli, and Assouline amongst others.
Can you tell us a bit about your background?
RJ Fernandez: In London I work primarily as a photographic printer, having worked for over 5 years at a lab called with master printer . I learned so much from him as well as our colleagues Alan Beechey and Chris Clark, both amazing printers in their own right. Through BDi learned the history of photography and colour printing by working with the people that made history. Brian and I worked closely together alongside his famous clients, people I looked up to while I was still assisting in Manila. One of the reasons I studied at the Arts Institute in Bournemouth was because Nick Knight and Wolfgang Tillmans studied there! I started working in London after I graduated, shooting shows at the South Bank Centre, at the Queen Elizabeth Hall and the Royal Festival Hall. I also work as a photographer, although having a family has kept me rooted in a certain place. We travel constantly together although I would find it difficult to have a toddler running around in disused gold mines, where I shot my last project, in 2012. It was unexpectedly nominated for the Prix Pictet in 2015.
Why did you set up MAPA Books? And focusing on photo books specifically – publishing is a tough business and photobooks especially is a niche some would argue.
RJ Fernandez: I wanted to take the level of production in London to the Philippines, essentially sharing what I’ve learned. Seeing the rise of the photobook through the years, as people came through the lab, and meeting young, independent publishers such as Aron Morel for instance — seeing how they created these beautifully produced books with these amazing photographers, while still being truthful to the artists’ vision was very inspiring. MAPA isn’t particularly limited to photography nor is it limited to the Philippines — I would love to work with artists across SouthEast Asia.
Why did you pick ILI and SIGNOS as the first two publications?
RJ Fernandez: It wasn’t a matter of ‘picking’ as such. It was more a deep desire and determination to make these ideas a reality.
MAPA started with the idea of ILI. Six years ago, I asked Tommy Hafalla if I could publish his book. It took me three years to convince him to let me take away all his 35mm negatives to London, his life’s work, in a little pelicase. It has been thirty years since Eduardo Masferre put out the book, People of the Philippine Cordillera. When Tommy was ready to do the book, it was time. There have been many misconceptions surrounding the material culture from the Cordillera specifically with the bulul and the lingling-o. The book and the knowledge that supports it are from the people themselves. Tommy is part of the community that he documents, he has a sense of responsibility to carry on tradition as well as to share the knowledge of the culture for future generations.
Veejay Villafranca is one of the beacons of Philippine documentary photography today. In 2013, Haiyan happened. The destruction to the country was unprecedented. As we were taking a step forward, it felt like we were being pushed back. Veejay was there with the United Nations documenting the climate refugees since Ondoy in 2009. SIGNOS depicts the new norm, with weather patterns changing across the world, people are starting to realize that climate change does not happen in isolation.
In general, it seems as if modern Filipino culture seems to have forgotten its own history. Across the country, there are cultural modes that reflect previous stages of development, not necessarily left behind, rather, making a conscious effort to preserve by remembering. Books become our archive – more than ever they are a tool by which we remember the beauty and multiplicity of our culture and the complexity of our traditions.