Maija Bondar’s work was a 2024 Rfotofolio Merit Selection chosen by CR and JR.

Would you please tell us about yourself?

Hi! My name is Maija, and I live in Jyväskylä, Finland. I was born in Ukraine, but at the age
of seven, I moved to Russia with my parents. Every summer, my sister and I would spend
time in Ukraine with our grandparents, cousins, and extended family. Those summers remain some of the most cherished memories of my childhood.

Life in Russia also holds significant meaning for me. It was where I spent my teenage years,
which played a big role in shaping who I am today. During that time, I had many friends, and I truly valued those relationships. However, much has changed since then: due to the war in Ukraine, I lost contact with many of those people. Even so, I hold on to the memories of that time as an important chapter in my life. I lived in Russia for 17 years, graduated from school, and earned a degree in economics. Back then, studying photography or pursuing art never even crossed my mind.

Where did you get your photographic training?

Photography started as a hobby for me. For a long time, I treated it as just a pastime, nothing more. During the pandemic, when most of our lives shifted online, I realized it was the perfect time to dive deeper into something I truly enjoyed. I began with online photography courses, and slowly, the idea of taking it more seriously started to grow.
I enrolled in Academy Fotografika, where I studied remotely. At some point, I realized that I
needed live interaction, hands-on practice, and an environment where I could learn through collaboration with others. That’s when I began studying for a Vocational Qualification in Media and Visual Expression at a local college, while continuing my online studies at the academy.

It was an intense period, but one that shaped me profoundly. I met so many creative people and discovered photography not just as a technical skill or a tool, but as an art form capable of expressing ideas and emotions. A pivotal moment in my journey came when one of my teachers, Mikko Auernitty, suggested I try applying to the Arts Academy at Turku University of Applied Sciences. The idea seemed almost impossible, I still saw myself as an amateur, but I decided to take a chance. Now, just a few months away from earning my bachelor’s degree, I realize that this step has been an important part of my journey.

Who has had an influence on your creative process?

The work of Elina Brotherus was a revelation for me. Her photography showed me that
photography can be art. It can go far beyond simple depictions of life.

I’m also incredibly grateful to my teachers, Mikko Auernitty (Gradia Jyväskylä) and Katya
Bogachevskaia (Academy Fotografika). Although they’ve never met and don’t know each
other, their belief in me has had an equally significant impact on my growth as a
photographer. I’m also deeply inspired by the people who have surrounded me throughout my studies. Their support has shaped my creativity and continues to help me move forward. I can honestly say I’ve been fortunate to meet wonderful people along my journey, and I’m thankful to each and every one of them.

Please tell us about an image (not your own) that has stayed with you over time. 

That would be Paul Strand’s, “White Fence”. To me, it’s a perfect example of how photography can transcend documentation and become an exploration of form, rhythm, and composition.

What image of yours would you say taught you an important lesson?

This work. I traveled to the western coast of Finland to photograph the sea. I spent two days shooting everything I had planned, carefully composing each shot. I was packing up, feeling like I had accomplished what I set out to do, and heading back to my car when I saw a tree. My first thought was, “I’m too tired, I’ve done enough.” But almost immediately, another feeling emerged: “This is why I came here.” That tree became the most meaningful image of the trip.

That moment taught me an invaluable lesson: true inspiration often comes spontaneously, not from carefully laid plans. Since then, I’ve changed the way I approach my shoots. I no longer over-plan or expect the location to match a preconceived vision. Instead, I focus on staying open to what’s happening around me and observing the space closely.
Some days, I don’t capture anything significant—and that’s okay. I trust the process and
know that eventually, I’ll find myself in the right place for the perfect shot.

Please tell us about the work you submitted to The Rfotofolio Call.

This is the project The Loud Voice of Emptiness

In it, I reflect on the phenomenon of grief. The starting point was my personal experience with the war in Ukraine. Beginning with my own grief, I try to explore it as a universal human experience.

For me, photography is not just a way to capture reality—it’s a tool for exploring emotions
and searching for myself. I use multiple figures in my works to depict the process of
experiencing grief. These figures symbolize different parts of me, scattered or lost in
moments of intense emotions. When I create such images, it feels like an attempt to piece myself back together from these fragments, to find meaning in the chaos and answers to inner questions.

The layers help convey that grief is not a static state but a process in which a person gradually tries to restore their sense of wholeness and find a new balance.
Three-dimensionality in my work also helps to engage the viewer more deeply. I strive for
each layer, each figure, or element of the image to become part of a unified story that invites the viewer not just to look but to reflect, feel, and find their own resonance.
In this way, my photography becomes not only a way to explore my personal experience but also a space where the viewer can recognize their own emotions, seeing something relatable and meaningful in these stories.

What part of image-making do you find the most rewarding?

For me, it’s the moment when I find a place that reflects my inner state. When I recognize
that connection, I know I can spend hours there, alone with myself and my camera.

How do you work through times when nothing seems to work?

I step away from the camera completely. Even my phone camera. Taking those breaks helps me reset and eventually find inspiration again.

What tools have you found essential in the making of your work?

A camera and a tripod, those are the essentials. Everything else is secondary.

Is there something in photography that you would like to try in the future?

I’d love to explore collage. It’s a new way for me to combine elements of reality and
abstraction.

How does your art affect the way you see the world?

I once came across a quote often attributed to Frida Kahlo: “I paint self-portraits because I
am so often alone, because I am the person I know best.” I’m not sure of its’ exact source, but it deeply resonates with me and perfectly describes my approach to photography.
I focus on personal themes because they are the ones I understand best. Working with deeply personal topics allows me to process my emotions, live through them, and express them through art.

At the same time, it’s important for me that my work extends beyond my own experience.
Grief, loss, acceptance, these aren’t just my emotions. They are universal experiences shared by many. Through my projects, I aim to find common ground between the personal and the collective, so viewers can see something meaningful and relatable in these stories.

When I finish a project, it feels like I’m letting go of a part of the weight I’ve been carrying.
It’s an act of release, as though my pain or fear now exists in the visual form, separate from
me. This gives me the strength to see the world with more calmness, patience, and
understanding. Sometimes I wonder if this patience is something I’m just convincing myself of, but perhaps that’s the power of art, it changes us slowly, imperceptibly, yet always leaves its mark.

What’s on the horizon?

The past few years have taught me not to think too far ahead. I try to live in the moment and take things as they come. The only thing I’m sure about right now is that in May 2025, I’ll graduate from the Arts Academy, get my bachelor’s degree, and, at last, be able to officially call myself a photographic artist. At least, that’s the plan!

Thank you Maija.

To learn more about the work of Maija Bondar please visit her site by clicking on her name.