Jan 23rd, 2018



Synchrodogs is a duo of photographers from Ukraine, Tania Shcheglova (1989) and Roman Noven (1984) have been shooting together since 2008. Raw, dreamlike and psychedelic, Synchrodogs create images with a beautiful disregard for the ordinary. Pushing boundaries and challenging convention, their pictures delve into a strange limbo between reverie and realism.

Tell us about the images that we’re featuring?

We’ve always found inspiration in endless fields and forests, nature was something that gave us strength. With our works we try to convey this powerful feeling to people showing Human and Nature as two subjects that have a very deep connection and are interdependent, influencing each other irreversibly.

What are you working on right now?

Recently we came back home after one month enduro motorbike trip across Carpathian mountains where we were working on a new project that deals with exploitation of nature a lot. One month gives a huge experience, you get to know how thousands of trees are being cut weekly, all illegally, for the sake of getting paid, you see stuffed animals in every restaurant and mountain house but you meet zero animals alive in forests. Once we even found a burning tree on a hill as people didnt put enough water into fire after cooking some food in it and we had to liquidate it with our water leftovers and with help of our legs. People are often irresponsible with Planet they are living, and the roots come partly from the lack of education, not the kind of education where we learn how to count or understand how things work, but the other one – that teaches people appreciate nature more.

Why did you start taking photos?

Accidentally. We both got our first film cameral presented to us by friends, we just couldn’t resist to use them. And then when we met in 2008 it felt so natural to shoot together that we never stopped.

Do your parents like your work?

With our parents we came through many stages, from total incomprehension to warm support. Now they keep track of our art and achievements, always happy when a new step up the ladder is made. We live separately but sometimes when we plan travelling a lot they get our post, unpack magazines etc. So once they got a book we agreed to be part of, we didn’t know exactly which the curatorial selection would be, and the book appeared to be about all kinds of nudity, it was literally full of nipples and dicks. After that case Tania’s parents are always careful with post, always ask if they can unpack and if it is parent-oriented.

What was the worst reaction you have had to your work?

Once a girl was writing a diploma work on art and selected the name for it ‘Cruelty in works of Synchrodogs’. When we asked her where she found violence she answered that our works were violating her mind. That came as a shock as with our projects we always tried to convey the pure connection between human and nature. Later we got to know she was examining only one exact project called Misha Koptev (, which was a documentary project about genius designer from Ukrainian ghetto who made provocative fashion out of garbage. Even though we saw inspirational story of life rather then violence in it, at least we could explain her position for ourselves.

How do you determine if a work has been a success?

It is easier to see if the show has been a success with many people coming, or if the book is sold out. In general we like to evaluate if we personally are happy with results of our work, and we believe if we love it the world will love it too.