I must admit that I have a complicated relationship with the work of Erwin Olaf. A renowned and internationally recognised photographer and gay activist, whose exhibitions draw large local and international audiences, he possessed undeniable talent and technical mastery. His images are meticulously constructed, (too) close to perfection, and emotionally charged, yet I often experience a certain distance and stay outside. The precision of his visual language can feel overwhelming, making me more aware of the construction than emotionally immersed. At times, the work strikes me as self-centred and activist-driven, rooted in Olaf’s own identity and accompanied by a sense of deliberate provocation toward the viewer. That said, I deeply enjoyed his earlier work, such as the Rally series made in the United States in 1990, his photographs from Slovakia in 1991, as well as some of the portraits from Im Wald (2020). In these images, I find a connection that resonates more strongly with me. I am left to wonder whether he might have evolved into a master of black-and-white photography had he pursued that path more fully. The tension between admiration and discomfort I feel may well have been intentional. Olaf’s work does appear pleasant, but rather it challenges, confronts, and demands a response, leaving me engaged but undecided.
