shifting plates

Well just adding this image to the page gave me a thrill. It's been a while.... 

 

Back last summer I, ironically of course, posted an image of an exposed roll of film, the result of a wander around London's West End for the first time in a long time. Well plus ça change. True to form it's taken my usual gestation period for the images to see the light of day again. 

The style hasn't materially changed either. I've written at length about that and also how I'm at a point of reflection now too, but it was good to just reconnect with those familiar streets. Nothing's fixed in time of course. 

They shift beneath my feet, now more than ever.

 

flatter to deceive

I first became aware of Jonas Bendiksen in a photography show at the PM Gallery when I remember being struck by an image from his Satellites project. This was a classic piece of Magnum photojournalism: humanist stories, documented against a backdrop of political and social turmoil. It was fascinating to discover that he had used the reputation of his persona and of Magnum to create a fictional documentary project, The Book of Veles, raising questions about authenticity, trust and the photography establishment.

It was a topic of interest for a number of us in my local photography group so I put together a short talk. In retrospect it's a companion to one I gave over a year ago on ethics.

There are lots of sources that describe the story but I found Ben Smith's interview very interesting and well worth a listen.

 

 

the pandemic, a photographic history

I've been fascinated by the creative output the pandemic has produced, in particular - and unsurprisingly - through photography zines, books and exhibitions. I've referenced examples already but wanted to draw some themes from the ones I've picked up along the way.

It's also an opportunity to reflect on my own response, of course. We're at a significant point now in England. The national unity of the first wave of the pandemic feels a long time ago. We're approaching a new year better protected but with less confidence of getting back to normal than last December. There's a creeping realisation that how we collectively learn to live with the pandemic comes next.

The images and texts in these zines and books are already historic. However for me it's as much about the motivation behind creating them as the actual content itself. They represent ways of using the act of making images and of distributing them to help deal with the situations thrust upon people, in a highly engaged way. Perhaps it's the act of turning documentary practices onto individuals and communities more cross-sectional than stereotyped. The consequences are not only a record of our times but place image making, of and by ourselves, at the centre of that record.

The early days of lockdown initiated a number of "doorstep" projects and one I really like is Levy Lockdown Portraits by Ciara Leeming that she's now developed into a full participatory project with her local community sharing experiences through stories and diairies as well as photography.

Using photographs to stimulate personal narratives is also a feature of Birmingham Lockdown Stories by Jaskirt Boora. Here we move from the doorstep into locations of peoples' choice, which is a wonderful way of creating trust and representations of worth.

Another zine with the mission to "move beyond the doorstep" was published this year. Still Life by WorkHorse Collective presents some innovative interprations of lockdown life with a mission to give a platform to people otherwise underpresented.

Taking control of representation is also a feature of My Camera My Therapy by Natalie Ball. Giving equal weight to the testimonials of photographers opposite their images in the zine is symbolic of their relationship with photography and the role it plays in their lives in lockdown.

Paul Treacy produced another of his wonderful handmade books and it was great to see it picked up by the BBC. Pandemic Constitutional is a soulmate of Natalie Ball's work as a portrait of someone coming to terms with life with COVID. I can certainly relate to the structure of the work, found pictures taken on walks around a local neighbourhood, but Paul's phrase 'sustaining creativity' is particularly striking.

Two other personal collections of local life in the early months of the pandemic are Village Lockdown by Robert Law and Lockdown Fakenham by Keith Osborn. It's fascinating to cross-reference the images that could be interchangeable in places.

At this point I have to mention two collections of London lockdown photography. The LIP Chronicles from the London Independent Photography group I'm a member of. Produced on newsprint, images from group members are arranged across a weekly timeline from the announcement of the what became the first lockdown in England, reflecting a range of creative responses. Even looking back at it now sparks memories.

I must say the London in Lockdown collection, published by Hoxton Mini Press and introduced by Jilke Goldbach presents a tremendous range of work. Chris Dorley-Brown's early morning cityscapes I was familiar with and Jemima Yong's Field too. However for me the variety of images in Spencer Murphy's Our Bullet Lives Blossom As They Race Towards The Wall conveys the strangeness of those days perfectly.

Continuing the theme of compilation, perhaps what will become the official record of events Hold Still published by the National Portrait Gallery is a survey of the nation taken from an open submission of portraits by people across the country. Raising money for Mind, it also generated a digital and an outdoor exhibition of the work across the country at the end of 2020. Looking at it now a year on it perhaps best captures what was characterised as the blitz spirit of that period.

A 180 degree view of that are posed by three very personal works. A project I greatly admire and wrote about last year is good to reference here too. Amuleto by Francheska Melendez and Ben Roberts is a powerful synthesis of the pandemic in Spain and the Black Lives Matter movement. Eighteen months year on, the value of documenting that summer is so valuable as memories fade.

Europe is also the setting of John Perivolaris's Pandemicon 2020-2021, an odyssey from Scotland to Italy and Greece, made all the more poignant by its dedication to the death of his mother from COVID.

I've been intrigued by the idea of a box of prints and as an alternative to zines and books it was so good to see that approcah taken by Tristan Poyer and his work Masked: A Portrait of Amazon. His rationale is best read directly. I couldn't do it justice by paraphrasing it. For me it's the best testimony of this period I've seen.

For completeness I'm going to add two of the first publications I found at the start of the pandemic and mentioned last year, Insiders and Limbo. Now in retrospect it's fascinating to see the work produced so early in the pandemic and that initial period of extreme isolation when many creative people found ways of expressing and supporting eachother.

I'd also like to mention a non-photographic work for the stimulation of its writing. When This Is All Over by The London Society is a range of essays about the possibilities and opportunities of post-pandemic life in London. It actually does have a some fine images and illustrations so I think I can sneak it in to this selection ;)

And finally - for now - I'd like to include a work that's just been crowdfunded so I don't have it just yet but with the title Photography through the Pandemic it's hard to resist.

I do sometimes feel I should just "move on" from the fixation with the creative consequences of the pandemic. When I see work like this it gives me faith to stay the course. 

A little longer.

 

hour before dawn

That time of the year again

 

 

Tomorrow, the days become longer. 

 

long lockdown

Reflecting on a second year of COVID it would be strange not to include the five storeys high exhibition. However the real highlights for me have been the impact on local community groups. This outreach work was part of our pitch for fundraising and for me in particular became a way to reconcile my initial unease with the project. Spending time with a group from Southall staring up at the front of Ealing police station felt like a way of squaring the circle.

The resulting workshop back in their space produced some poignant reflections on the impact of the pandemic on their lives. I brought A4 versions of the photographs from the show to pick from and A4 paper so they could draw and write their responses. It was a privilege to hear the emotions and memories evoked by the photographs. Afterwards, sharing their creativity with the photographers whose work was selected alongside the accompanying pieces, gave us all a moment to reflect for ourselves.

It also gave me momentum to develop a pop-up version of the exhibition to create a space in a community centre in another part of Ealing to share their experiences of the pandemic.  

 

I spent time with people in a couple of drop-in sessions just listening and then talking about the idea of the show and encouraging them to bring their own photographs from the last eighteen months. The result was a unique display of photographs made by the Gurnell Grove community during the pansemic on screen, presented alongside a mini version of Ealing Unlocked on foam board, ranged around the community centre. 

Collaborating in this way, to recognise the value and give a platform for people's images, was another fascinating way to leverage the original project to create something new and significant.

Can't wait to see what we can do next.