I have had an interesting week regarding my photography despite not picking up the camera. I was invited by the Shpilman Institute for Photography to write a piece about my latest series "Stillness in Time" which you can read here, entitled "Encapsulating Stillness". It's good to sit and write about your work, one of the reasons I love to blog. It makes you think about why you are doing it, rather than just doing it because you like to do it. It's about digging deeper and exploring what drives you to do it and to go beyond a more conscious level of your work. So, the first thing I addressed was why I wanted to photograph children using the wet plate collodion process. I have mentioned it before on my blog, and you can read about it on the "SIP" blog so I won't go into it here.
I then was asked the question on FB whether the pictures of these children are really a depiction of my childhood - this was also asked by a childhood friend who knew me well. And to a point the answer is yes.
This brings me on to the next interesting part of my week. A couple of days I posted this portrait of my son (I won't say where) and the reaction wasn't very positive. They found it uncomfortable, distressing, depressing, words such a 'postmortem' was used - to 'I really don't like this'. Which of course is fine. On the other hand people found it beautiful, serene and peaceful - it is amazing how one projects something of themselves to an image. This pleases me. For me I want to leave an image open.
However, it wasn't the criticism that perturbed me but the fact that people still find it difficult to cope with images of childhood or children that are not smiling or happy. I have been rereading Anne Higonnet's "Pictures of Innocence. The History and Crisis of Ideal Childhood" which I always find interesting, sometimes agreeing, sometimes not. Nonetheless, in regards to my own work I thought that I am not depicting the child, what I am doing is challenging the notion of childhood being innocent - not the child. We shouldn't sentimentalize childhood, to do this would be a grave disservice to our children. It would be a lie. It would suggest that a child lives in a blissful bubble and doesn't feel things that we do as adults. Children are acutely aware of what is going on around them. They feel the emotional torment of a parent's violent argument, they feel the sense of isolation in a classroom if they don't fit in. They know the pain of being laughed at by peers. Children feel as vulnerable, if not more vulnerable than adults. I am not saying that all of childhood is like this. I remember lots of fun and happiness and I see this in my own children. But childhood is what shapes us into the adults we become. It is a small but deeply significant part of our lives. If you see something in a picture it may say something of ourselves - we project our feelings. So we can look at these images and see serenity or fear but that is up to the individual. But we must allow children & childhood to be explored, to be heard literally and visually and sometimes this may make us uncomfortable.


Great post and pictures. Anne Higonnet is a great resource for anyone interested in childhood and I always think that the less idealized pictures are the more interesting ones and say more about what it is to be a child. These two pictures go into more mortal areas, they do touch on death and so into a history of childhood that goes beyond Higonnet's innocent child. Death and mortality are central to Sally Mann's work, where ideas of childhood go beyond superficial cultural views. I showed her work to some 1st year doc-phot students and many of them couldn't see anything about childhood in the pictures - but then there were others who absolutely saw themselves in the pictures, who had experienced those feelings, those dramas, those places. So go on with the dark side of childhood - to the fears and frailties. Lots of people won't like it, but it'll take your work into new and fabulous directions.
ReplyDeleteThanks so much Colin for your lovely comment. I would have love to have been in your class and listened to the response from the students. When I took these images I hadn't thought that I would be portraying issues of mortality but I know this issue is very much with me. When I was a child my sister's best friend and her mother were brutally murdered in their home (the little girl was 6, the same age as Fleur). This has lived with me and my sister. Several years ago we had a holiday in Portugal and an intruder came into our villa - we chased him off & thankfully the kids were in with us - I have never been so terrified. I know mortality actuality frightens me and maybe, just maybe this is why it is seeping into my work. I was invited to a great project recently called 'A book about death' but you had to write the words across your work - I couldn't bring myself to do it - as much as I loved the project idea. That's the power of photography though - it made me face up to the past maybe it will make me face up to the inevitable. I will carry on exploring the fears and frailties of childhood - I don't think I could stop, I see it everywhere. Thanks again Colin.
ReplyDeleteYour work is stunning, Deborah. You're approaching Sally Mann territory (in a good way). I'm truly enjoying following your journey.
ReplyDeleteMark Olwick
Well said, Deborah. I don't think of children as particularly innocent so much as actively engaged in seeking experience... their inexperience in life can be seen as innocent, especially by forgetful adults. In ways, I'm reliving my own childhood through the pictures I make with my kids, too... there are often three people in the picture, you the photographer, the subject of your picture, and the viewer who brings their own baggage to it. It strikes me that the most successful pictures are those that offer the viewer wide latitude to interpret them. As to the question of death... aren't many photographers engaged with that subject through photographs? Funny, I've always found Sally Mann's "What Remains" her least successful body of work, because it deals so directly and obviously with death, whereas "Immediate Family" deals with it through their life... being present in those moments with children that are so brief. Thanks for the thoughtful post, apologies for the rambling comment!
ReplyDeleteThank you so much Mark for your kind comment - I really appreciate it and for the high praise indeed :)
ReplyDeleteThank you so much Suzanne for your wonderfully thoughtful comment. I really do agree with you about bringing three people into the picture - funny enough it took me a while to realise this and a lot of criticism to understand it wasn't always about what I was doing but how I was making them feel. I agree also about 'What Remain' although I didn't understand why I felt this. To deal with death through life is much more powerful than seeing a dead body - I also know that before I had children I never thought about my mortality, I probably was more accepting of it. Since having children it is harder to deal with but I suppose that is connected with the love we feel for them as much as the love of life, the fear of death. Thanks so much Suzanne, I am pleased I have written this now - it's an interesting topic and has made me think.
ReplyDeleteThe murder's terrible - so close as well. Maybe it is something you could look at in another work. If it's not too painful to go there?
ReplyDeleteI wonder if these things are permanently with you Colin, even when you don't realise. I remember everything about the day we found out, I remember what the weather was like, I remember mum picking us from school, my sister on a school trip and wondering where her friend was - mum taking us to the circus to distract us .. me & my sister sleeping in the bottom bunk together with a sheet hanging from the top for extra protection. My mum questioned loads by the police because she worked in the pub opposite and us going to my nan's as mum was so stressed & mum passing out on Bromley high street. I think you realise pretty quickly how fragile life is and how violent it can be - I wonder if that comes out in my work - not sure. The fact that I remember all this makes me more determined to show how children don't live in this bubble of happiness and there isn't much that escapes them, even if they appear to know care or know. Will think about what you said though .. thank you.
ReplyDeleteI have been reading 'We need to talk about Kevin' by Lionel Shriver. I don't know if you have read it but she writes very eloquently about how some parents tend to trivialise their children as just children and not as human beings with their own eccentricities and thoughts. She relates it to the celebrity mentality that children are seen as an accessory rather than their own person.
ReplyDeleteAnyway sorry for rambling but if you can you should pick it up. The subject matter is gruelling for lack of a better word but insights are interesting.
Anyway keep up the blog posts, I always enjoy reading them.
Vicky.
I haven't read the book Victoria but I heard them talking about it on the radio - although I didn't actually catch what the book was about- I think I should look it up. As for rambling - not at all, I love to hear people's thoughts, that is the point of my blog - two way conversation I hope - come anytime for a chat :) I think you are right, we do seem to separate the child from the human experience which is insane really. Thanks again Victoria.
ReplyDeleteHello Deborah! I think part of the magic and the wonder of what you're doing is that it elicits such powerful - and contrasting - responses from the people who see the images. I know from my writing that it really comes alive for me when people see things in it I'd never even thought about, and that makes the creative process very exciting.
ReplyDeleteI'm exploring childhood memories myself at the moment, and I know that the more memories I retrieve and examine, the more keep occurring to me, and that's so stimulating creatively! Do you find this happening to you as you continue to build on this body of work?
Keep well.
Sophie.
Hi Sophie, it's lovely to hear from you and I am so pleased you are tapping into those memories and feeling inspired. I agree, it is a great that others can get different meanings from one's work - I like it when things are left open to interpretation. I find it even more fascinating when people are offended by what they are putting into the image or in others words they don't want to address childhood as anything other than pleasant & care free. What I have found today writing this blog, and discussing it was that maybe there is certain elements to my work that I have influenced subconsciously - I thought I was more detached with this body of work - so that has been interesting. Thanks so much for stopping by:)
ReplyDeleteBecause you choose to photograph in an old way, viewers are put off, as the old process makes us focus, pardon the pun, on the subject and the old process brings the subject front and center.
ReplyDeleteArt sometimes challenges us to think different and make us a bit uncomfortable as did the works of Robert Mapplethorpe for instance.
The process definitely brings out a certain element than I think if had chosen to shoot film for instance - but then again they have to stay so still - like a statue to get a portrait like this - maybe it is this combination that gives that eerie stillness. Thanks so much Mitch for your thoughts, I really appreciate you stopping by :)
ReplyDeleteI have to say that these photographs make me a little uncomfortable but I think that is a good thing. I am bringing my own experiences to the photograph and to me that is one of the marks of a successful image. To grab people emotionally in this way and to put yourself into the pictures whilst also allowing others to make their own interpretations is a real triumph.
ReplyDeleteThank you so much Scott for your great comment. I was going to say I am glad they made you uncomfortable but that didn't sound right but what I am trying to say is that I am pleased that they made you think - that's good. I do like a picture to be slightly ambiguous, like you say, to be able to bring something of the viewer to the picture - I am just learning this to be honest. I used to think that a successful picture was one that everyone liked but now I think it is about getting people to think, react - in whatever way it suits them - well almost any way - some comments I have had in the past have left my mouth slightly on the open side ;) Thanks again Scott, really appreciate you stopping by - and I am guessing you know Colin :)
ReplyDeleteYes in fact it was Colin's lecture a few weeks ago that led me to start my own blog. It is early days yet but I am finding the whole process really useful. I am not the best at voicing my opinions of photography out loud so writing it down on a regular basis is really good for me. Thanks for following me :)
ReplyDeleteYou're very welcome - and likewise. I started blogging a couple of years ago and really enjoy it - it starts of feeling like you are shouting into a black hole and then someone hears you - very strange in a way. But a good way of channeling thoughts. I haven't met Colin but I can imagine his lectures are very inspiring - you're very lucky. Anyway, shall look forward to following your journey :)
ReplyDeleteAs ever, Deb, wonderful thought-provoking stuff here and on what you have written over on the SIP site. With regard to 'stillness' - yes, stillness is a state of mind as much as it is anything physical. Like you, I find that if I am really concentrating, really 'in the zone' when I am taking pictures, wet plate or otherwise, then it's akin to a meditative state almost. Time taken out of time. And, in a way, that's what childhood is. A wonderful, challenging pause. I don't find your photographs disturbing but I do find them thought-provoking and sensitive. They seem in tune with childhood in all its guises. I would be interested to read the Anne Higonnet book, I must look out for it.
ReplyDeleteHi Lucy, sorry for the delay in responding - I think you would find Anne Higonnet's book interesting - I quite like reading critical books about both photography and children - sometimes agreeing, sometimes not. I am pleased you don't find my work disturbing, but thought-provoking is always a good thing. I hope you are keeping well :) And thank you as always, really appreciate you stopping by x
ReplyDeleteI am not really a visual artist, but I like to express myself in writing. It does not really matter which subject I choose, in essence I am always writing about myself. I think when you are engaged in art, as you are in your photography; you are in fact on a quest for those beautiful gems called insight. You are doing research in your own inner universe. What is the use of research if you want to ignore results that make you feel uncomfortable? Duality is one of the most important characteristics of life on planet earth, I think. There is love and there is hate. There is joy and there is pain. It is the whole spectrum that makes life so intensely beautiful and terrifying. A good comedy is not only funny: it is as tragic as it is funny, but watching a comedy, we choose to laugh about the sorrow. You write: ‘what I am doing is challenging the notion of childhood being innocent - not the child’. That is such a strong thought. I love it. Off course, childhood is not innocent. If only it was. If I look at your photos, I see massive human tragedy in the faces of the children. Tragedy almost in a mythical sense. That is what children experience next to their joy; at least, if the joy is given to them, because, well, everybody knows that some children have to bear sorrows too large for children’s feet. Maybe that is why some adults find it unpleasant to look at the photo’s you are referring to. If the innocence of childhood is shattered – who is often the one that shatters? If you look in the abyss the abyss looks in you. Great art and great writing, Deborah!
ReplyDeleteHi Martin
DeleteI am so sorry for the delay in responding to your comment - I am afraid I have only just come across it as I don't get notified of comments. Thank you so much for your really thoughtful and insightful comment - I really do agree with you. I love how you say when we look into the abyss, the abyss looks in you - so very true. If you come back and read this I just wanted to let you know I am in touch with Susan Grissom, which is lovely. I hope you are keeping well.