Interview with Cahill Van As

MesDames: Made in Nièvre by Cahill Van As, recently on view at Espace Usanii in Nevers, France, exhibited portraits of local women entrepreneurs. By including varying perspectives of each subject in the exhibition, Van As creates a collective portrait of what it’s like to be a boss in the workforce.

Cahill Van As: For me, portraiture is about a shared moment, an exchange, it’s about connecting with the subject. Without giving away all my secrets, it’s creating a space for them to feel comfortable, confident, and truly be themselves.

Tom Winchester: How did you decide which portraits to include in this exhibition?

CVA: The exhibition is a series of portraits of female entrepreneurs from the Nièvre region in France. It’s an introduction to the project and a presentation of the first 19 women, the show has 38 images in total, two portraits for each woman along with their first names and titles.

I knew from the start that for this series each woman would have two portraits; one classic portrait, and the second, an environmental portrait, in action, showing a peek into each woman’s world, what they do, what they are passionate about. 

So, each set of images needed to tell a story, and present each woman and her work / her world. For the final selection of images for the exhibition, it was a delicate balance between the individual images, the sets of portraits for each woman, and the collective body of work, looking at the series as a cohesive whole.

TW: Which artists and photographers inspire you and your work?

CVA: Hmm, I have so many, there’s such a range and it’s always evolving. Francesca Woodman, Irving Penn, Diane Arbus, Gerhard Richter, Juergen Teller, William Eggleston, and Guy Bourdain are some all-time favorite photographers, and always inspire me. A more recent photo crush and inspiration is Magdalena Wosinska. I was introduced to her work a few years ago, she’s got a great eye and way to shoot people. I especially like her personal work. If you don’t know her, check out her Instagram. I think you’ll like it.

Travel has also always been a major source of inspiration for me. Being in a new place, or a new country, you see things differently, you notice more, you observe more, it’s like seeing for the first time. I always feel like when I travel with my camera it’s a way to connect with people and the culture, and to enter into the lives and energy of where you are. Living in France and speaking a new language basically feels like a long-term version of this.

TW: How does your education at School of Visual Arts influence your work today?

CVA: Speaking of artists and photographers that inspire me, my introduction and exposure to a lot of these artists came from my teachers at SVA, not to mention the solid education we received, steeped in the history of art and photography. (And having access to so much amazing art in NYC.) It was, and still is, one of the best photography schools out there. I was lucky to have some amazing mentors, teachers, and classmates who inspired me while I was at SVA and continue to. Those connections have proven to be the most valuable, and long-lasting.

Putting together this show also reminded me of SVA, as I edited down my final selects, debating on which images were the best for the series, how to present the work, and curating the order and layout. My walls were covered in 4x6 photos, which I added, removed, arranged and rearranged until I found the perfect balance. It was how we worked at SVA.

TW: Do you prefer artificial light or natural light? 

CVA: Natural light.

TW: In addition to capturing a person’s likeness, what are you looking for when shooting portraits?

CVA: Them! Capturing more than their likeness, an emotion, a feeling, a moment, reflecting something deeper, revealing them.

TW: How is it different photographing people in France than the US?

CVA: I think the act of photographing someone can be universal, or exists without the need of a shared language. After that, there are subtle differences between the two cultures, the way to communicate or to approach a person in French can be much more nuanced. Americans tend to be more direct. (But friendly.) 

I also think being an American speaking French has worked to my advantage, there’s something different, something to be discovered, a touch of mystery between us. And thankfully, the French find the American accent charming!

TW: Do you ever use film or the traditional processes?

CVA: Yes! One of my favorite media is Polaroid, and I still shoot 35mm film. I found my old Yashica T4 before moving to France, so I’ve been taking that around with me, especially when I travel. It’s been so fun to shoot film again! I have a stack of rolls that I need to get developed. But with clients everything is digital.

TW: There are some self-portraits included in the exhibition. How does your approach change when photographing yourself?

CVA: It’s really the same approach, but with less talking. I like to shoot self-portraits alone, where I can be in the moment, let my guard down and focus on being the subject, not just the photographer. A lot of my earlier work was self-portraits, so I have my approach and habits, but it’s been a while since I’ve sat on that side of the camera.

TW: If at all, how does the fact that France just last month amended their constitution to guarantee the right for an abortion influence the inherent feminism of this exhibition?

CVA: The two are not related. However as a woman, a feminist, who believes in freedom of choice, but comes from a country that recently stripped women of this right, I am very grateful and proud to be living in France right now.

TW: As an American, how does it make you feel to see this country’s relationship with feminism so strained, specifically with Trump and his anti-abortion policies?

CVA: Again, it makes me so grateful to be living in France. But as an American, and as a woman, I have sooo many emotions and thoughts but mainly anger and frustration; to see fundamental rights erased and the massive steps the country has taken backwards is devastating. I am shocked but not surprised. The changes and the mentality that Trump ushered in and catered to, during his first term, have had lasting, and dangerous effects on so many people. Let’s all hope that Americans show up and vote well this fall.

TW: How often do you come back to visit the US?

CVA: Not very often, to be honest. We moved to France just before Covid shut down the world, so I’ve only been back twice since then. But I just booked a trip to come this summer for a couple weeks. The benefit of living in France is that everyone wants to visit, and there’s so many places to easily travel to in and around France.

TW: Do you have any favorite galleries or museums in France?

CVA: I have a lot of favorites in Paris: The Pompidou, Musée D’Orsay, Palais de Toyko, Palais Galliera, MEP – Maison Européenne de la Photographie. The amazing thing about France, that you don’t find (rarely find) in the US, is the appreciation, celebration and preservation of art, culture and history. You can see amazing art anywhere in France!

TW. French croissant or New York bagel?

CVA: French croissant. I have to admit, I probably eat one a day, I love them! Ha! France has converted me. We are also so spoiled, we have some of the best boulangeries walking distance from our home. But, now that you mention it, I do miss a good NY bagel. I’ll have to get one next time I’m back.

TW. After this exhibition, do you plan on continuing this series or will you move onto another project?

CVA: Yes, I plan to continue the series, it feels like I’ve just scratched the surface. The idea is to continue expanding and diversifying this series, the range and variety of careers and areas of expertise, the radius / locations, and highlighting this region, and the women behind it. This project has a way of growing on its own, it’s one of the things I love about it. I already have a list started for the next women to be included, and it keeps growing… 

But, that being said, I am also going to take a little break before picking it back up again. I think it’s good to let the project breathe and to exist on its own for a minute, to think about the next steps and where the project is going, before continuing.

I’ve got a few upcoming shoots that I’m booked on this month, and a few new projects that are coming up this summer / fall, which I’m looking forward to, but otherwise the plan for this summer is to travel and to enjoy some time off. This is the French way, afterall!