Macy’s, 2018. Image © Jesse Rieser

In Focus is Archinect's recurring series dedicated to profiling the photographers who help capture architecture and who make the work of architects look that much better. In this series we ask: What is their relationship to architecture? Is there a difference between capturing a building versus capturing people? What are their thoughts on seeing their work on public platforms like blogs and Instagram? 

For this installment, Archinect chats with photographer Jesse Rieser. Although Rieser wouldn't consider himself an architectural photographer, his recent series, The Retail Apocalypse: The Changing Landscapes of American Retail, captures the beautiful stillness and abandonment retail buildings can represent over time. Specifically focusing on rundown, commercial buildings in Phoenix, Arizona Rieser imbues expressive color palettes and geometric forms with a sense of nostalgia to give these structures a second life.

What's your relationship to architecture? What drew you to architecture as a photographer?

My relationship with architecture goes back to when I thought about what I wanted to do as an adult. When I was in high school I recall my first "love of my life," her father was an architect. He seemed like this renaissance type of guy. There’s something about what he did that was a combination of different arts and disciplines combined. To me architecture almost had this “god like” essence to it, getting to create spaces to live and work in. I had an admiration for the profession for sure and thought about being one. Then I realized my math wasn’t solid so I transitioned to photography which seemed like a better fit. 

To me architecture almost had this “god like” essence to it, getting to create spaces to live and work in. I had an admiration for the profession for sure.

So after learning math wasn't your thing, what helped you decide photography was a better fit?

Well, my background is in drawing and painting. I got into photography around my junior year of high school. My school was the one school that had a dark room, which was really a converted boys bathroom. Lots of my friends were taking it so I thought I'd give it a try. I just loved the process of it all. Going into the dark room and seeing your photo come to life.

Do you remember the first photo you took?

Yea, my dad had an old camera he let me borrow and I started to take photos.  In my black and white photography class, we had this still life assignment where we had to use an apple as the subject. I remember I found this woven basket and an old sculpture my mom had and I remember setting them up together and taking photos. For me the expedience in ideas was what I loved. In other mediums the process is slightly laborious. In photography you can play a little. You look for lights and shapes. 

Did you end up studying photography in college? 

I actually played football as a kid and realized I loved photography more. I passed on my football scholarships and attended Arizona State University. I finished my undergrad in 2003 with a B.A. in Photography. I went abroad to Europe and assisted these European fashion photographers. It was really eye opening and I learned so much. Eventually I ventured into doing my own thing, splitting my time from personal projects and commercial ones.

Your personal work and commercial work have some similarities, but what led you to working on Retail Apocalypse and what drove you to make it a part of you personal collection?

All of my works address change and a lot of change stems from personal struggles, transition, loss, etc. The project kinda started backwards. I came back to Arizona to teach, and while I was back home I realized that I was being drawn to the bland urban sprawl out here in the Southwest. There's so many business parks here. A lot of my work is rooted in nostalgia which helps me figure out how the narrative will flow. I was drawn to these buildings and wanted to illustrate them in a beautiful way.

In 2016 I started to see stores closing here in Phoenix. So many areas were being built and being forgotten at the same time. Everything was happening so fast. Growing up I remember spending time in these business parks and Class B/Class C malls. I remember spending my time at Best Buy listening to music and and watching basketball. But now with this changing digital world we live in, a lot of these business are disappearing. 

The colors in your work express such a vibrance but also a melancholy feeling. The way these buildings are captured almost take a freeze frame of nostalgia. Can you talk to us about the colors in your photos? 

Yea. Much of the Southwest is filled with landscapes of muted pastels. Being in the desert, over time these buildings fade more and more,  almost becoming this world of beiges. I was drawn to these buildings and their coldness. I started to photograph them and really seek these buildings out. It was almost like I was reflecting on my childhood. I was uncovering personal memories while I was taking these photographs.

Besides have these personal memories guiding you through the project, did you have a specific technical approach or process when photographing these places?

I didn't really have a traditional approach, but really spent time on finding ways to capture these moments of "failed architecture." I wanted to have these long running narratives and with a personal project like this I could do that. My process tends to take a surreal conceptual approach. No matter the subject or story it all has to feel like it's coming from a singular place - it all comes from me. One technical thing I do incorporate is that I photograph in very specific lighting conditions to really capture those colors tones.

In your work you primarily photograph scenes with people in it. Was there a big difference in capturing these buildings versus capturing people?

That's an interesting question. It really differs in the way you that you work with the object. Photographing spaces is almost a bit harder because everything is bigger. But when I work with a space, it's very meditative for me. There's so much space, there's so much about the inclusion you have to think about. You're basically trying to frame that truth that's in front of you. It's very different when you're working with an object/people, there's usually a team present. There's more moving parts to taking the shot.

There's so much space, there's so much about the inclusion you have to think about. You're basically trying to frame that truth that's in front of you.

With this digital world we live in, what's it like seeing your work up on public platforms like blogs and instagram? 

When I finished my undergrad in 2003 a lot of the images I viewed were in textbooks. Sure the internet was a thing, but a lot of the photography I saw was in books. And now with all of these digital platforms, images are more homogenous because of Instagram. With this digital, democratic layout for photography there's room for more people to get into the space. There's more room for people to push the medium forward. I really try to embrace it, but sometimes it's case by case. I used to have this art director I worked with and he would always say "you take to when" and it's always stuck with me. For humans, the older you get you look for comfort, but I think you have to look at it as the landscape you work with. Platforms like social media are there, it's all in how you use it.

That's a really great perspective to embrace the future of photography, especially its relationship to architecture. Even though you wouldn't consider yourself an architectural photographer, what's your take on the field? 

When it comes to architecture and photography, a lot of the time if the image isn't portfolio driven then its for the firm. The images being presented help showcase the work. It's almost like a celebration of what the firm is doing and accomplishing. But I can see where people view architectural photography now, especially with Instagram, like a call and response. Sometimes I think architecture isn't pedestrian enough. With Retail Apocalypse, I tried to create this dialogue for discussion around what's happening to these stores. Sometimes there's more questions than answers and it gives more power to the photo. I think that's what people should look out for when photographing buildings and structures, the dialogue. 

Sometimes I think architecture isn't pedestrian enough. Especially with Retail Apocalypse, I tried creating this dialogue for discussion...

You grew up during the 80s and 90s, what's your take on this digital world we live in and how it changes the way we shop?

I grew up in an analog world and now working in a digital world, this project is almost like a call and response. As a kid growing up and spending time in these places was the thing to do. I remember reading the back of CD's and product boxes, waiting to get help from a sales associate who couldn't care less about my question. I laugh about it now, but despite all that we experienced all that in a physical space. We had somewhere to go to experience these products, to experience interaction. Circuit City closed down in 2012 and last year Toys "R" Us ended their run in 2018. For me it's interesting to see how these digital outlets affect the way the middle class and the wealthy get to shop. 

Do you think there's a gap?

Definitely, there's a gap. Don't get me wrong, I love the quick and easy availability of products online, but I think what we lack now is human interaction. Even though a sales associate wouldn't be able to help me there's still something satisfying with interacting with a person. There was something satisfying about going into a physical space that allowed me to interact with the products. I always wonder how companies expect people to learn about their product without these places. But, the landscape of American Retail is changing. It's changing everywhere. I know you can't fight change, but that doesn't mean you can't be sentimental and I think architecture helps create that.

Now, all of these anchor tenants like JC Penny and Macy's are struggling. They can't compare with online services and these new luxury malls that bring another element to shopping. These luxury malls are going gangbusters right now. 

You have a new project in the works called "New American Folklore." Can you tell us a little bit about that?

Definitely. The project is a collection of images I've taken since 2012. It's been this exercise of learning how we live now. It's like we live in two alternate realities. We live in a climate of people who are living in the same place, but everyone there is trying to decided what color the sky is. It's very interesting. The collection is loosely based on me revisiting places I used to visit as a kid. It's like this surreal portrait of America that I'm trying to remember. What's the story, what's the narrative I'm telling in this 2D facsimile?

Jesse Rieser Bio: 

My name is Jesse Rieser and I am a student of subtleties. Since I was 17 I have been looking through a lens, making images filled with telling details and compelling characters. But back to those subtleties. They are different from details.

Subtleties are the stuff of stories. They are the unexplained elements, the unobvious expression, the unclear artifacts. They are the lingering mysteries in the photograph that refuse to reveal themselves to the viewer immediately. My work inspires engagement, drawing in the viewer, causing him to wonder about the subjects and the stories they have to tell. Photography is all about the moment – button pressed, instant captured. But that moment can take an hour, a day, a lifetime to happen. I engage with subjects. I understand and communicate with clients. I can see their vision through my own eyes. Some call it empathy. Some call it charm. My mom just says I’m a nice young man. To learn more about Jesse and his work click here.

Jesse will be showcasing his work "The Changing Landscape of American Retail" from February 2nd - March 1st in Portland, Oregon at the Camerawork Gallery. The exhibition will also be featured in Los Angeles on March 4-17 at the Standard Vision at LA Live.