AN INTERVIEW WITH GREG MO

We’ve been long-time admirers of Greg Mo, a photographer who first came to our attention several years ago with his own brand of candid street photography infused with wit and playfulness. Like a lineage of photographers such as Martin Parr, Matt Stuart and Jesse Marlow, but with his own unique flavor, he captures the surrealism of the everyday, finding split second moments of absurdity and beauty in the chaos of urban life.

He groups this work into a longform project of sorts, aptly titled “Strangely Normal”. Each image captures the fleeting transformation of normal, day-to-day life into something unexpected and surreal. Something that has a quiet profundity as we bear witness to life’s strange patterns, coincidences, and wry humor.

When Greg reached out we jumped at the chance to interview him – to delve further into the history, technique and philosophy behind his remarkable work.

Hi Greg. Please introduce yourself in a few words, and perhaps a fact we should know about you.

I am a photographer specializing in street and conceptual photography, based in Phnom Penh, the capital of Cambodia. My work primarily focuses on Asia. Currently, I am working on a photography book and also teach street photography technique and philosophy through workshops across Asia, which can be booked upon request. My next group sessions are scheduled to take place in Phnom Penh and Paris.

What was your route into photography, and how would you now describe your photographic work?

I began my photography journey using disposable cameras and later progressed to a Lomo LC Wide, which I carried with me for years. I captured moments based on encounters with friends and visual attractions found on the streets. In 2011, I documented the amusing ways people were sleeping in Cambodia. This series eventually developed into a book titled “Sleep in Cambodia,” marking the beginning of a more serious professional pursuit.

I am naturally drawn to certain colors, lights, objects, and shapes, as well as specific locations. However, unconsciously, I also gravitate towards capturing things that amuse me. As a result, my photographic style blends all these elements during shooting. Ultimately, what defines my style are the choices I make in selecting and retaining images.

What draws you to this pursuit of street photography, and those moments of everyday surrealism? And do you think your status as a foreigner – a French man living in Cambodia – has helped hone your eye for spotting these moments of humor and eccentricity?

Thank you for your kind words! What drives my desire to photograph is a mix of curiosity and the challenge of capturing an image that works. The act of photography allows me to fully appreciate the present moment and be completely engaged with the world around me. My perspective is undoubtedly shaped by my French cultural heritage, impacting how I interpret situations with humor or surprise that resonate in my subconscious. I also believe that my encounter with Richard Kalvar, and the discovery of his book “Earthlings” has been particularly inspiring.

Additionally, painters like René Magritte and Salvador Dali have influenced how I approach and interpret various situations.

I’m reminded of a quote from Alex Webb: “Street photography is 99.9% about failure.” Do you agree with this? Tell us a little bit about your approach on the streets – perhaps where you go out, when you go, and how you hunt for moments of interest.

Of course, street photography involves navigating a high rate of failure to uncover that rare 0.01% of great shots. My approach on the streets is driven by intuition, I’m naturally drawn to things that catch my eye, and I instinctively respond to them. Whether I’m leisurely walking or traveling, I always have my camera ready without fixating on a specific location because I believe I can capture a great photo anywhere. This approach allows me to encounter various atmospheres and capture a range of images, each distinct from the others.

I love taking photos in lively places. However, I also enjoy walking through quiet neighborhoods for an hour without snapping a single picture. Yet, just around the corner, I often find a scene that’s really interesting.

Do you have any photography heroes? Or perhaps inspiration from other areas of life?

Alex Webb has been a significant influence for me from the beginning. Visually, I draw inspiration from the work of Gueorgui Pinkhassov, David Alan Harvey, and Constantine Manos. From a conceptual and psychological perspective, I am deeply inspired by the works of Viviane Sassen, Gregory Halpern, and Rinko Kawauchi. My inspirations also extend to the realms of design, painting, and architecture.

You’ve shot work for this series in India, Japan, Denmark, and of course Cambodia amongst others. Are some places easier than others to find these “0.1%” photos? Do you have a favorite place to shot, or is the favorite place the one you haven’t been to yet?

I am not tied to any specific place. A good photograph can appear on any street corner. Whether in a restaurant, visiting a tourist monument, in a bustling city center, or in an empty country lane, there are no rules. However, I find more pleasure in photographing when there is bright sunshine and plenty of dynamism and movement. I particularly enjoy photographing in Indonesia and Japan.

On that same subject, what is your bucket list location?

In Asia, I have a strong desire to revisit Burma and spend time in Indonesian island of Sulawesi. Additionally, I’ve always dreamed of photographing Haiti after discovering the photos series of Alex Webb, Bruce Gilden, and Maggie Steber taken there. Africa is also a place I’m considering, as I’m curious to explore something truly different in that region.

Does immersing yourself in the daily lives of others give you more or less hope for humanity?

It varies day by day, depending on the people and the neighborhood. While I remain optimistic and believe in the improvement of humanity, what has left the deepest impact on me is visiting the poorest areas of Asia and India. It profoundly changed my worldview, not only witnessing the hardships of families living there but also seeing the environmental challenges surrounding their homes. From this perspective, the widespread presence of these challenges does not evoke a clear sense of hope.

And finally, what’s the best piece of advice you’d pass on to your younger self if you could?

I believe the best piece of advice would be to start buying photography books early on, focusing on artist series rather than individual photographs. This approach would help in developing a photographic eye more quickly, which I believe is ultimately the most important aspect of photography.