Gabriela Pantu: portraits reimagined through the fusion of art and innovation

by Editor Marius Cinteza
Edited and published by Yvette Depaepe, the 10^th of January 2025

Gabriela Pantu is a talented Romanian photographer and lawyer by profession who has found her true calling behind the lens. Eight years ago, she embarked on a remarkable journey into the world of photography when she bought her first camera. This passion quickly developed into a creative outlet, allowing her to explore the fascinating world of portrait photography. She often reflects on her journey, saying, "Expressing myself through photography not only brings a newfound balance to my life, but also challenges me to deeper self-knowledge and learning". Her work, a testament to her dedication and creativity, has been featured in prestigious exhibitions around the world, including the Mia Photo Fair in Milan (2019), Bucharest Photofest (2020), Art Delight Gallery in Seoul (2021), The SPACE Art Gallery in Philadelphia (2022), BSIDE Gallery in Melbourne (2023), Galeria Romană in Bucharest (2024) and the ART-ICON exhibition 'Corporeality' in Paris (2024). Her portfolio has also graced the pages of renowned print and online magazines such as F64, Liternet, Your Magazine Shot, Dodho Online Magazine, Photography Week Magazine, PetaPixel, Fine Eye Magazine, Galeria foto online 100 ASA, PhotoVogue, Kiosk of Democracy, Tomis Magazine and Avatar Magazine. Recently, she has been exploring hybrid photography, creating a special collection of 15 triptychs entitled "Metamorphosis", among other beautiful works of art. This collection aims to express multiple layers of her emotional journey through interconnected images, with each triptych consisting of an original photograph and two subsequent images derived from it.

Her story is a beautiful reminder of how passion and creativity can transform one's life, offering a unique perspective on the world and oneself. Please join me in delving deeper into the world of Gabriela, not just as a talented photographer but as a remarkable individual. Discover her journey, her inspirations, and the creative processes that make her work truly unique in the article below!

'Fringes'

Gabriela, thank you so much for joining us today! Before we dive into your amazing work, I'd love to know a bit more about you. What are some of your favorite things to do when you're not behind the camera creating stunning visuals?
Thank you so much for inviting me, dear Marius, dear Yvette and the 1x.com team! It's the month of the year that brings a little magic into our lives, which makes me think more about all the things I'm grateful for! As my photographic journey is organically linked to 1x.com, the joy of sharing some thoughts with the artists of this community is part of that magic for me. The things I like to do in my spare time, apart from photography, are reading, listening to music, watching films, spending time in nature, meeting friends. These are all things from my childhood that have stayed with me over the years. Photography is somehow my 'virtual' hypostasis, if I were to make an analogy with complex numbers, which have a real and an imaginary part, and it is also the 'bridge' through which I connect without the reservations I have in everyday life.

'Evanescent'

Can you share a memorable story about how you first discovered your passion for art? Was there a particular moment or experience that made you realize this was your calling?
Eight years ago I decided to buy a camera. I wanted to change something fundamental in my life, to express those parts of myself that had never had a voice. At the time it seemed I had every reason to be happy with everything I had achieved, but I felt burdened by things I had not dealt with emotionally over the years. Until then, my life had been directed towards practical solutions, whatever the situation, towards the next necessary step, always thinking that I could not afford to be vulnerable.
In my professions, first as a physics teacher, then as a lawyer, there are well-defined ethical standards and boundaries for self-expression. The main purpose is to use one's professional knowledge and skills for the benefit of others. Although there are personal approaches, they are always secondary to the professional objective. In these roles, I have never felt vulnerable; instead, I have focused on addressing the vulnerability of others, whether students or clients, ensuring their safety and comfort in our interactions and in carrying out my professional duties for them. I decided to buy a camera and nothing else, probably because I have always liked photography and I loved taking pictures with my phone on holiday, it gave me a pleasant feeling as if through the photographs I was staying forever in all the places I captured in the pictures. Photography seemed to come out of nowhere and I didn't question it, I just followed the path!

'Interface'

Your recent artistic portraits are absolutely mesmerizing! Photography seems to be a big part of your creative process, but you also blend in various hybrid elements. How would you describe your relationship with photography and these other mediums?
Thank you very much, very kind of you! Photography, once I grasped its true essence, put me in a state of vulnerability. It forced me to introspect and began a journey of self-discovery and reconciliation with parts of myself that I had denied or hidden - emotions, fears, desires - enabling me to bring these shadows into conscious awareness. This journey, though challenging and at times painful, has led to closure and serenity, always restoring a profound balance. Photography has become for me not only a way to express my emotions and personal experiences through a visual language, but also an invaluable tool for catharsis. I discovered hybrid photography two years ago when I took an online course on the Domestika platform taught by Danny Bittencourt, a Brazilian visual artist. I was immediately drawn to the creative potential of this approach and started experimenting to see which techniques would give me the feeling that the journey started with the original images would continue with the hybrid images. The process itself is fascinating and inspiring! When I work on a photograph, I usually have the result in mind and, with rare exceptions, I go for it. When I work on a hybrid image, I have a destination in mind, but I allow myself to be absorbed by new hypotheses that can take me in unexpected directions. I can evoke the feeling I had when I tore up a photo I had finished editing, which looked exactly the way I wanted it, to reassemble it as a hybrid image - the same kind of feeling I had when an unexpected event from the past changed the course of my seemingly perfect life and I had to rebuild it from the remaining fragments. Sure, a different intensity.

'Brain crush'

How would you define your artistic style, and what emotions or messages do you hope to evoke in those who admire your work?
I think I'm basically driven by a minimalist tendency, I like to refine an image to bring out what's essential. I always feel between light and shadow, which is why I prefer black and white photography. I like to use more intense elements in my images and strive to create a balance between them to express what is essential in my journey - the serene acceptance that opposites will always coexist in my being, that shadows must be validated. Photography that reveals vulnerability is both disturbing and healing, and this approach is the only way to express myself authentically.
The answer to the second question is not easy, but I often reflect on how certain images resonate with me and stay in my mind. Some images move me because they evoke emotions that I have personally experienced, triggering memories. Others make me think about different ideas, encourage me to think outside the box, or intrigue and delight me. They may conjure up stories from a life, a novel, a line from a song, a film or a character. Or they might pique my curiosity about something unfamiliar or challenge me in some way. So I think the most effective connection is either emotional, intellectual or a combination of both.

'Daydreaming'

We all need a little inspiration now and then! What keeps your creative fire burning bright? Are there any particular people, places, or things that inspire you the most?
Reading, music, art in general, the galleries I visit, the artistic solutions I observe, the works I resonate with are sources of inspiration. And what happens around me. I like to watch people like moving graffiti on the street and imagine what is beyond appearances.

'windy day'

Your surreal, dreamlike portraits with hybrid photography elements are truly impressive! Do you meticulously plan out your shoots, or do you find that inspiration often strikes in the moment, leading you on a spontaneous path of visual discovery?
I'm not a spontaneous person. I'm more organised, I have in mind what I want to do, but the act of creation has this potential to stir up resources that you're not aware of, to intervene 'quantum' in your emotional universe, showing you a path that you hadn't thought of.

'Traces'

Your artwork often explores the depth of feminine emotion and vulnerability. Can you walk us through your creative process? How much time and effort do you typically invest in post-processing, and what are some of your favorite hybrid elements to use?
At the origin of my photographs are stories - stories that come from the past or that hint at the future. I often dream and then weave in inspiration and references. In terms of editing, I am a slow worker. I would say that my editing process is methodical and exploratory. I've never saved a path and I've never stuck to a fixed workflow. Sometimes I start over several times, sometimes I follow an unexpected path and in that case I ask myself where the photo wants to take me and let myself be led by that surprising impulse.

'Seduction game'

Your exhibition "Human" has captivated the public with 55 stunning portraits, one of them showcasing your unique use of hybrid elements for portraits and even AI for triptychs ("Metamorphosis") to convey your message. You have described this collection as a spiritual journey. Can you share with us where you hope this journey will lead? What is the ultimate destination or goal of this artistic exploration?
Thank you for your kind words! Four years ago I started a project that resulted in a series of 55 photographs - the 'Human' Collection - portraits and artistic nudes, which I exhibited this year at the Roman Gallery in Bucharest. I believe that the portrait and the nude are the most vulnerable hypostasis, so I used them to explore the unseen face of my moon. The project is an emotional journey through which I have come to terms with myself.
Metamorphosis is a collection of 15 triptychs through which I have expressed multiple layers of my emotional journey within interconnected images. Each triptych consists of a photograph taken by me, which is the first image of the triptych, and two more using the first as a reference, which I have creatively edited in Ps. A series of 10 of these images won an honourable mention at BIFA 2023, which made me very happy. I believe that the spiritual journey is not about reaching a destination, but about embracing the ever-evolving process of becoming, a lifelong adventure of self-discovery, transformation and love. Since photography allows me to project myself into a space that does not have a 'comfort zone', I am encouraged by the thought that artistic exploration will contribute to the effort of conquering my own mind, which is my ultimate goal.

'transcending'

It's often said that "it's not the camera, it's the photographer." While this is absolutely true, I'm still curious: can you tell us a bit about the camera model you use and the post-processing tools and hybrid means that help you bring your artistic vision to life?
I use Nikon 750 D, Nikon Z 7II and Olympus OM-D E-M10 Mark III. I prefer telephoto lenses and lensbaby - I love them! I edit in Photoshop and Exposure X7. For the hybrid photography I love to use glass, water, ice.

'trapped'

AI is making waves in the creative world, photography is no exception and you already used it in your works. What are your thoughts on AI's impact on art like yours in the future? Do you see it as a threat or a potential collaborator?
In the artistic field, AI has become a powerful tool within everyone's reach, just as the camera once was. If it's used honestly, openly, transparently, I don't see a problem with AI creating artistic images or enabling a higher expression of artistic vision. It's a different kind of creation from photography and should not be seen as competing with it. I have created AI images using my photographs as a starting point, but I don't pretend that the result is photography, and of course I have never posted AI images on 1x.com.
The arts get involved. Degas' famous painting 'Ballet Dancers in the Wings' was created using photography. Degas first made three prints that he combined into a single image that became the starting point for his painting. I think that if people weren't using AI and were claiming to be making real photographs, there wouldn't be this controversy between photography and AI images that look like photographs. As far as I know, there are ongoing projects to legally regulate the field of AI creations. It's a question of definitions, and then it's a question of ethics. I do not believe that the art of the present is better or worse than the art of the past. Instead, I believe that different art forms and media can coexist without hierarchy, reflecting society in all its complexity throughout history.

'eclipse'

Is there a particular photographer whose work has deeply influenced your own artistic development?
The artistic spirit of Francesca Woodman influenced my artistic vision. Regarding my hybrid photography, I would like to mention the influence of artist Danny Bittencourt.

'fear'

Many artists have a special piece in their portfolio that holds a unique place in their heart. Is there a portrait that holds particular meaning for you? Can you share the story behind it and why it's so special to you?
I would mention 'This is how the light comes in'. I started with the idea of empathy, a state that brings us closer to humanity in a profound and transformative way. There is a line from a Gavin deGraw song - 'Let me be your tears' - that beautifully expresses the idea of empathy. As I worked with the shards of glass, observing how the light interacted with them, the words of Ernest Hemingway came to mind: We're all broken, that's how the light gets in. So true!

'that's how the light gets in'

As we wrap up this interview, Gabriela, are there any exciting projects or artistic endeavours you're looking forward to tacklng in the future?
I am aiming for a self-portrait project and also a continuation of the emotional journey from the 'Human' project. Through this I hope to find answers to questions that have not yet been answered! I wish you all a happy 2025, health and shining light :-)