Seedbed – new work in progress

Document Scotland was delighted to receive support recently from an organisation called Seedbed, which supports projects with start-up funding. The support has allowed two of our photographers, Sarah Amy Fishlock and Sophie Gerrard to each undertake a small project looking at different aspects of land use in Scotland, with a view to developing the work into a broader and wider series of Document Scotland projects over the coming months.

Sarah’s project focuses on community gardening in Glasgow, exploring how urban gardeners engage with the land around them and the social and cultural effects of green spaces in residential areas, while Sophie’s work introduces us to a number of young farmers based in and around Edinburgh and The Lothians, exploring their unique landscapes and every day working lives as well as the financial, logistical and industrial challenges of working in an ageing industry.

Document Scotland are extremely grateful to Seedbed for their support and look forward to sharing the completed projects.

© Sarah Amy Fishlock 2017, all rights reserved

 

© Sarah Amy Fishlock 2017, all rights reserved

 

Cameron, East Lothian © Sophie Gerrard 2017, all rights reserved

 

East Lothian © Sophie Gerrard 2017, all rights reserved

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Fresh Focus at Stills

Last month Sarah took part in CONNECT FOR Photography Graduates at Stills, a day of talks focussed on supporting graduate and emerging photographers. As well as insightful talks by Melanie Letore, Mat Hay, Morwenna Kearsley and others, the event included a presentation by Christina Webber, Zoe Hamill and Erin Semple on a new initiative being run out of Stills, Fresh Focus. Work in progress by the three artists was shown at Stills in September as part of Working Title, which aimed ‘to bridge the gap between concept and finished product by exposing the process behind the pictures.’ Sarah speaks to Christina, Erin and Zoe here.

© Fresh Focus 2017, all rights reserved

SAF: Hi everyone and thanks for taking the time to speak with me. Can you tell me about yourselves, and how Fresh Focus came about?

ES: Fresh Focus came about from feedback from the Stills 2016 Connect For event. Feedback from recent graduates called for opportunities to discuss work with others – as after college/university you are often left without a support network. As recent graduates ourselves, we agreed that after university it becomes increasingly more difficult to stay motivated especially if you don’t have anyone to bounce ideas off of. We want Fresh Focus to emulate the peer group that many people are now missing but to also connect people from different institutions and year groups.

© Zoe Hamill 2017, all rights reserved

SAF: What do you perceive as being the main issues facing emerging photographers in Scotland today?

CW: Emerging photographers are immediately faced with a lack of opportunities. There is no grad scheme waiting, no easy career ladder to jump on and climb rung by rung. More often than not they are working part or full-time to support their practice and still have to compete within an over-saturated industry for the few jobs/internships/competitions that are there. Leaving a creative institution, you also lose access to the facilities you have been taught to work with. Equipment is expensive, space is expensive, time is expensive. There is a distinct difference between being taught how to use specialist facilities and being taught how to source/ finance them for yourself. The consistent nag of self-doubt and money trouble, the isolation incurred from free time spent on personal work or applications, and the day-to-day stresses of a day job do not (without some effort) lend themselves to a productive creative environment.

SAF: How does the initiative address some of the challenges you’ve identified?

CW: What we aim to do with Fresh Focus is to make the bridge between education and industry easier by creating a space for discussion, collaboration and support. This environment is a catalyst to help establish critical confidence in project work by receiving feedback and engaging in a wider photo community. The monthly meet-ups and online space will also serve as a resource pool – a way of using individual networks to each-other’s benefit. Building a career is difficult – but we believe it gets easier when we support each other!

© Erin Semple 2017, all rights reserved

 

SAF: I can see there being a lot interest in this kind of peer-led discussion. How can people who’re interested in taking part get in touch with you?

ZH: If you’re interested in joining the group, we ask that you visit the website and fill in a brief application form. This is so you can tell us a little about yourself and why you think joining the group would benefit your practice. If you have any questions about the process or would like to find out more about the group, you can email nic.rue@stills.org. You can also follow us on Instagram @freshfocusatstills to give you an idea of what we’ve been up to so far, and keep up to date with our plans for the future.

SAF: Thanks all for chatting to me. We’re excited to see what comes next!

© Christina Webber 2017, all rights reserved

 

© Fresh Focus 2017, all rights reserved

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Sarah Amy Fishlock / CBUK Creative Workshops

In recent weeks Sarah Amy Fishlock has been working on a series of workshops with the Glasgow branch of the UK charity Child Bereavement UK, based in Maryhill. Devised in close collaboration with the organisation, the workshops coincide with the first meetings of the Glasgow Young People’s Advisory Group, modelled on the existing setup in branches south of the border. These meetings encourage young people aged 11-25 to work together in a supportive environment, using their own experiences to work on projects focussing on ways to help themselves and other young people who are grieving. Throughout September 2017, Sarah worked on a range of collaborative creative activities with the young people and CBUK staff, using photography, collage and zine-making techniques to both explore the process of grief and build resilience and self-care skills in the here and now.

© Sarah Amy Fishlock 2017, all rights reserved

© Sarah Amy Fishlock 2017, all rights reserved.

© Sarah Amy Fishlock 2017, all rights reserved.

© Sarah Amy Fishlock 2017, all rights reserved.

© Sarah Amy Fishlock 2017, all rights reserved

© Sarah Amy Fishlock 2017, all rights reserved.

 

Child Bereavement UK supports families and educates professionals when a baby or child of any age dies or is dying, or when a child is facing bereavement.

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WildFires

WildFires is a new collective of female photographers working in Scotland. Initiated by Dr. Katherine Parhar, the group’s first exhibition, When the Light Shifts, is on display at Glasgow Women’s Library until 1st April. Here, Sarah speaks to Katherine about the ideas and aims behind the initiative.

Be, Still © Mairead Keating all rights reserved

 

SAF: Katherine, can you tell us a bit about yourself, your background and how you became interested in photography?

KP: I’m a photo historian, writer and curator. I teach at Napier University in Edinburgh, but I studied in Glasgow, where I began to specialise in the art of the inter-war era, a time when new technologies in print and photography altered, quite profoundly, how people saw and experienced their world – be it through war reportage fashion ephemera or x-rays of the human body. Photography developed so rapidly, so much the fabric of an increasingly unstable social climate, that I became fascinated with its creative possibilities, yes, but also with its moral and ethical place in our world. I like working with photographers because they – and their images – balance creative, ethical and personal drives in ways that other art forms don’t necessarily demand at every turn, as photography – I believe – does. So I love photography as a force in contemporary life, for its dilemmas and for its power – though, like many photographers, I’m cautious of it too.

 

Crosskennan © Zoe Hamill all rights reserved

 

SAF: What made you decide to begin the process of bringing together female photographers working in Scotland?

KP: As a historian, I’ve spent a lot of time looking back to recover and reinterpret the work of female photographers who were not acknowledged, collected, or written about by the institutions and individuals who decide what makes ‘History’ in the history of art and photography. I’ve been to all sorts of conferences and events that gathered together people like me. And yet the balance, for working photographers, hasn’t shifted as much as one might want to believe. In the British Journal of Photography, in this decade (so far), only 20% of the projects featured are by women. In the 1970s, that was 4%. So I began to think, how can I apply my energies to the future, to creating a living structure that promotes and records the women where I work, in Scotland? Back in 2016, September I think, I asked a few friends to the pub to ask what they thought that structure might look like – or to decide if we even needed one. Would we create exhibitions? A journal? A website? Or books? Over 20 women turned up and now we have all of these things under one name: WildFires. Our first exhibition is supported by Napier and Glasgow Women’s Library. We also have a pop-up projection at OCAD in Canada just now so we’re international already. And we have a book coming soon. But we’ve still to go for that drink!

 

Household Forensics © Susanne Ramsenthaler all rights reserved

 

SAF: What do you think people in the industry – artists, curators, photo editors – can do to ensure more visibility of women’s photographic work?

Well WildFires is something that yes, I initiated, but it’s been carried as far as it has, as quickly as it has (though it’s still new) by the people involved, from the photographers themselves to our partners (like Napier and Glasgow Women’s Library) who have all said ‘I’m in’ and pooled their energies without hesitation. WildFires is still taking shape but I initiated it with an eye to creating a platform for women photographers that would also plug in to more general needs for the photography community in Scotland – for example ‘home-grown’ international opportunities for emerging and established artists, and all who consider themselves in between. For every creative community the answer is different. But something Sophie (Gerrard) said, at our first meeting, is true across the board – if another woman has a good idea, second it; in other words, image-making is, professionally and creatively, always a network of relationships – give each other voice and volume, and with these comes visibility for us all.

Thank you Katherine. When the Light Shifts is on at Glasgow Women’s Library, 23 Landressy Street GlasgowG40 1BP until 1st April. See more work from the WildFires photographers here.

 

Fantastic New Community © Gina Lundy all rights reserved

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Frank McElhinney

Frank McElhinney’s work first came to our attention in 2014 when he won first place at that year’s Jill Todd Award for his intriguing, unique aerial photographs. Since then this prolific artist has gone from strength to strength, creating several bodies of work focussing on Scotland’s landscape and how it relates to our country’s past, both near and distant. One of these, Adrift, is currently on display at Street Level Photoworks, Glasgow, as part of Tabula Rasa II. Here, he speaks to Sarah about his projects, processes, themes and methods.

Adrift: Learable, Sutherland (2016) © Frank McElhinney all rights reserved

SAF: Frank, you graduated from the Glasgow School of Art in 2014. Can you tell us a bit about how you got into photography? What were you doing before you became a student?

FM: After working in manufacturing for 20 years I decided out of the blue to become an artist. I attended several different night classes whilst building up a portfolio for entry into art school. So it’s a rather mundane answer I’m afraid, but I got into photography through adult education courses at Glasgow City College and GSA.

SAF: Your degree show plans were forced to change when the Mackintosh building caught fire in May 2014 – can you explain how this affected your work?

FM: Yes, it was a bit of a shock at the time. I’d spent over three years working on a project about the Battle of Bannockburn whose 700th anniversary was to coincide with the degree show that never happened. The main affect on my own work was the instillation of a great sense of urgency around production. Three days after the fire I went to the source of the River Forth at Loch Chon and began making a series of kite aerial photographs that won first prize in the Jill Todd Photography Award. The drive towards constant production has stayed with me.

Fire in the Mack, Friday the 23rd of May (2014) © Frank McElhinney all rights reserved

SAF: Speaking of the work you entered into the Jill Todd competition, how did you come to use the kite for making your photographs? Were there any technical challenges to this approach?

FM: Using the kite came from the need to make one specific picture. At the Battle of Bannockburn thousands of people drowned in the burn and the River Forth. I wanted to photograph the confluence of these two bodies of water from above and the kite was the simplest way to achieve that perspective. The kite is literally a joy to work with. The only challenge is the wind itself. Too much gusting and the kite will crash, not enough and a long journey might be wasted.

False Start, Limitless Ending: Confluence of Kelty Water and River Forth (2014) © Frank McElhinney all rights reserved

SAF: Your recent work, Adrift, also uses aerial photography – this time, to respond to the current migration crisis with reference to areas of Scotland once inhabited by subsistence farmers. The link is an oblique rather than an obvious one – can you tell us more about your process with this project and how you decided which locations to concentrate on?

FM: Even sympathetic media coverage of today’s migration crisis often represents refugees in problematic ways. I chose not to photograph people at all but to look instead at migration through the lens of Scottish history. The Scottish diaspora has affected all parts of the country but I focused on abandoned settlements in the Highlands and Islands. I was inspired by the early work of Tom Devine who described how the Highland Clearances were underpinned by ethnic inferiorisation of the Gaels and resulted in an almost complete cultural erasure. Whilst working on a previous project I’d also been struck by the fact that even today, of the 45 most populous cities and towns in Scotland only four of them appear on the northern side of the map.

SAF: Your work creates interesting visual conversations between past and present – responding to current events while illuminating Scotland’s history. You mention a previous project – 45 Sun Pictures in Scotland, for which you used another type of alternative photographic process – pinhole photography. Can you tell us a little about how that work came about?

FM: In September 2014, I was on a month long residency in Cromarty. At the beginning I held a workshop for local people where we made pinhole cameras, filled them up with photographic paper and tied them on lampposts and trees around the village. At the end of the month we retrieved and scanned the images that had been burned into the paper. Looking at those abstract ‘solargraphs’ with the sun tracking across the sky, I reflected that the fate of the entire nation was being decided during the exposures. Within a few days of the referendum on independence it was clear nothing had been settled, the country was still pregnant with change. Solargraphs seemed an appropriate way of saying something about that unexpected situation. So I made 200 pinhole cameras and installed them around Scotland’s 45 most populous cities and towns. I made a picture of Scotland that was, in the end, woefully incomplete.

45 Sun Pictures in Scotland: Dundee (2014-2015) © Frank McElhinney all rights reserved

SAF: It’s almost as if, through your practice, you’re creating alternative geographical surveys of the land – linking the physical terrain to more abstract ideas about identity and nationhood, with reference to events both recent and ancient. There are definite strands running through your work, though the subject matter changes. What projects do you have planned for 2017?

FM: When I look at the land I see history and I think about how I can use history to address contemporary issues, (such as nationhood, conflict and migration), rather than simply represent historic events or the land itself. I like your description ‘alternative geographical surveys of the land’, but at the same time I am also making alternative histories that connect with the present.

Looking ahead I have two new exhibitions in development for 2017 and 2018. The first relates once again to migration but looks even further back in time to the old Roman border between Caledonia and Britannia, the Antonine wall – this will be shown at the Auld Kirk Museum, Kirkintilloch, in April and May 2017. The second project is a collaboration with John Farrell, whom I met at art school. John and I were born and raised in Lanarkshire a few miles apart, and that’s where the project is based. Our working title is Coal, Steel and Earth. I am focusing on Kingshill Nature Park, formerly the site of a pit where my maternal grandfather worked as a coal miner. John is focused on what remains of Ravenscraig steelworks, where coincidentally my paternal grandfather worked as a platelayer. The exhibition is provisionally planned for 2018, at Summerlee Museum of Scottish Industrial Life. Beyond these immediate projects I have a few ‘slow burners’ including that lost project that claims me every time I drive up the A91 past Stirling and look out over the long loop of the burn as it flows into the Forth. I used to think that the moment for Remembering Bannockburn had gone up in smoke forever, but there is still work to be done out there.

Coal, Steel and Earth: Kingshill trench and tree (2016) © Frank McElhinney all rights reserved

 

Remembering Bannockburn: Confluence of Bannockburn and River Forth (2014) © Frank McElhinney all rights reserved

 

Thank you for taking the time to speak to us, Frank. We’re really excited to see where your work takes you!

Adrift is currently on display as part of Tabula Rasa II, Street Level Photoworks, Glasgow, until 4th February.

 

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