Disappearing Glasgow

We’re delighted to read that Chris Leslie‘s Disappearing Glasgow project is getting another outing, this time as a multimedia exhibition at Glasgow Lighthouse space. If you missed Chris’s recent Glasgow School of Art show, then you should hurry along to see this arrangement of the works…

Disappearing Glasgow, by Chris Leslie.

 

Exhibition info:

Photographer and filmmaker Chris Leslie is widely acknowledged as the most consistent chronicler of the city’s recent history. This new multimedia exhibition and accompanying book ‘Disappearing Glasgow’ documents an era of spectacular change in Glasgow through the medium of photography and film.

The skyline of Glasgow has been radically transformed as high rise tower blocks have been blown down and bulldozed. Since 2006 more than 30% of the city’s high rise flats have disappeared, communities dispersed across the city and Dalmarnock have ‘been raised from the ashes’ via the Commonwealth Games.

Does this Disappearing Glasgow herald a renaissance in the city?

Disappearing Glasgow, by Chris Leslie.

 

Disappearing Glasgow book, by Chris Leslie.

 

Reviews of the book:

‘There’s something about a still image of something gone wrong that’s truly haunting. Perhaps to do with the age we live in, where everything is fast-moving and fleeting, that something grounded can have such a lasting effect. That’s what Chris Leslie brings to the table in Disappearing Glasgow. FIVE STARS’ The Skinny

‘Fascinating and highly emotive.’ i-on

‘Fascinating and moving.’ Scots Magazine

‘Photographer Chris Leslie documents this decline and fall wth steely-eyed honesty and unsentimental empathy. The result is both distressing and beautiful, an essay in what might have been and a lesson for anyone involved in the planning process.’ Scottish Review of Books

‘The photographs are absolutely stunning, perfectly capturing the spooky, eerie atmosphere of buildings which have been left to time. The story which Leslie tells through his photo series involves the smallest detail, such as a lost lottery ticket or an old thermostat on the wall, but also panoramas of the Glasgow cityscape, being once someone’s view. Two thumbs up for this book!’ SkyHighCity

‘Chris Leslie is the foremost chronicler of the changing face of Glasgow over the last decade.’ A Thousand Flowers

‘Chris Leslie builds on that erudite pointed critical observation and legacy of photography from the Victorian photographer Thomas Annan, through to Marzaroli. The city is fortunate to have such a critical friend, the contemporary conscience of our generation, able to aim his lens with astonishing focus, at the same time capturing the beauty, sadness and poignant with a pointed dignity.’ Page and Park Architects

Release date: 26th October 2016
Format: A4 Landscape Hardback, 192pp

Book can be purchased at usual outlets or online here – http://www.freightbooks.co.uk/disappearing-glasgow.html

Disappearing Glasgow, by Chris Leslie.

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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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Sarah Amy Fishlock joins Document Scotland

Document Scotland begins a new era in our short and full life. We are delighted to announce that long-time friend and occasional collaborator, Glasgow-based photographer Sarah Amy Fishlock has joined us, and together we look forward to joining our energies and expertise, and building on all that Document Scotland has so far achieved in promoting documentary photography in and about Scotland.

 

We welcome photographer Sarah Amy Fishlock to the Document Scotland team.

 

Sophie Gerrard spoke with Sarah about how she got started in photography, her projects, some of her influences and what’s next.

From the series Middlemen © Sarah Amy Fishlock 2011 all rights reserved.

SG: So welcome to Document Scotland Sarah, we’re looking forward to working with you – perhaps we can start with you telling us a bit about yourself…

SAF: I was born and brought up in Glasgow. When I left school I did a degree in Literary Studies at Glasgow University – it was originally going to be an Honours English Literature degree, but I cut it short when I realised that I wanted to go to art school. My father, whom I was close to and who passed his love of visual art on to me, passed away a year after I left school. I remember being in Venice with my mother soon afterwards, and taking a photo with my little point and shoot camera – a view of a corner building, from a bridge. The photo is pretty ordinary but I remember the moment really clearly as the instant I realised I wanted to do something creative, although I wasn’t quite sure what that would be.

Even though it was photography that sparked my interest in the creative industries, I started studying Visual Communication (now Communication Design) at Glasgow School of Art when I was 21, originally intending to specialise in Graphic Design. After taking a short introduction to black and white photography course in 2nd year (my first time in a darkroom), I fell in love with the process of photography. My boyfriend at the time, though not a professional photographer, was really interested in photography, and would buy me various cheap cameras for birthdays and christmases – Olympus Trip, Holga, Fuji Instax – so my first forays into photography were really experimental. I fell in love with the way my everyday surroundings could become beautiful through photography. I spent lots of time in the darkroom during my degree – now, I can’t even remember what I was printing, but I remember it being a really meditative experience, and crucial in helping me to form ideas of what a future career could look like.

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From the series Middlemen © Sarah Amy Fishlock 2011 all rights reserved.

SG: It sounds like your starting point was quite instinctive – tell us a little about how you developed your passion and interest …

SAF: During my degree, the artists I loved were those who made the ordinary extraordinary. I was fascinated by images of the American south – Robert Frank, William Eggleston, Stephen Shore. I still love those photographers, but I realised during my studies that my own style of photography would be more intimate, the stories I tell more focused. The Iraqi interpreters that I worked with during Middlemen, my degree project, have been through trauma that most people can’t imagine, but I wanted to tell the story of their quiet persistence, their day-to-day challenges and triumphs – a story about what happens after conflict, when people must rebuild their lives. One of the primary influences on this work was KayLynn Deveney’s The Day to Day Life of Albert Hastings – the simple story of the artist’s friendship with an elderly widower, illuminated by Deveney’s lyrical, painterly imagery.

Today, two of my main influences are Sian Davey and Bertien van Manen – two artists who produce slow, quiet, unhurried projects, in which the viewer is given an intimate glimpse into other worlds.

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From the series Amye & Ahren © Sarah Amy Fishlock 2012 all rights reserved.

SG: We’ve enjoyed your work such as Middlemen and Amye & Ahren and featured them in Document Scotland publications and salons, you’ve also created Goose Flesh photography zine. You’re clearly a prolific and driven individual, what motivates you?

SAF: For me, photography is a way of making contact with the world. It was hard to get Middlemen started – it look a long time and a lot of persistence to find the men, but once I did, I began to understand how humbling and illuminating it can be to help someone tell their story. While discussing a new project with a friend recently, something he said struck me – ‘the best projects are the most difficult’. For me, that’s definitely true – I want my work to challenge not only the viewer but myself, as a photographer and as a human being – to think differently, to change perspective, to reconsider opinions.

From the series Middlemen © Sarah Amy Fishlock 2013 all rights reserved.

From the series Amye & Ahren © Sarah Amy Fishlock 2012 all rights reserved.

I always begin by researching my subject: this is really important when working with a different culture, as during Middlemen, or with disabilities, like Amye & Ahren. I read around the subject and look at other artists’ work for inspiration. I’ve learned to always make work about subjects that interest me, even if they don’t seem ‘photograph-able’ to begin with – there’s always a way in. I then look for ways to access the people I want to work with – this might be through a charity, like the Scottish Middle Eastern Council who helped me meet the middlemen, or a mutual friend, who introduced me to Amye. I treat my projects as collaborations between myself and the subject – their comfort always comes first. It’s important to me that when I show my work, the people I’ve photographed are happy with and proud of the result.

In 2013 I started Goose Flesh with a small grant from Ideastap as a way of showcasing work by emerging and established artists from, living in, or connected to Glasgow, in a compact, accessible, affordable form. So far, five issues of the zine have been produced, alongside exhibitions in a range of venues around Glasgow, from Trongate 103 to the Arches. My interest in zines continued during my residency at the Citizens Theatre (2013-14 ), for which I produced two zines documenting my projects – it was a great way to bring the work back to the community that inspired it. I now teach zine workshops to university students and community groups around Scotland. This is something I’d like to continue and develop in 2017, perhaps alongside one of my photography projects. Goose Flesh is on hiatus at the moment while I develop my own photography projects – but it’ll definitely be back at some point in the future!

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

SG: Have you had any surprises along the way? Unexpected moments or challenges when making your work?

SAF: I am always humbled and pleasantly surprised by the people I photograph – the middlemen and their families welcomed me into their homes, gave me lots of delicious food, and shared their stories with me. Amye and Ahren did the same, despite the daily difficulties and challenges they face as a single parent family living with autism.

I’ve begun a few projects that have later fizzled out because I wasn’t sure exactly what the focus of the story should be. It’s important to identify precisely what interests you about a situation, even if you can’t envisage the outcome right at the beginning.

From the series Five Lands © Sarah Amy Fishlock 2014 all rights reserved.

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

SG: We’ve seen that your new work Beloved Curve, has been selected for Focus Photography Festival in Mumbai, and you’ve just returned from exhibiting it with Uncertain States in East London – many congratulations.  What’s coming up for you next?

My most recent project, Beloved Curve, is a departure from my previous work – it’s a series of experimental double exposures looking at my relationship with my father and my experiences of mourning his loss. I have enjoyed immensely the process of working in a different way, and I’m really proud of what the project has achieved – as well as being exhibited in Glasgow and Edinburgh this year, it’s been featured by BBC News In Pictures, the Guardian and Fiona Rogers’ Firecracker. Thanks to this coverage, I’ve recieved great feedback from members of the public who’ve connected with the work – it’s important to me that my work has resonance beyond the photography community, and I’m delighted that this project has achieved that.

I want to continue looking at some of the themes Beloved Curve touches on, but with a documentary slant – getting back into telling other people’s stories. I’m currently researching what I hope will be a long term project about child bereavement in Glasgow, as well as some smaller documentary projects.

saf_belovedcurve2

From the series Beloved Curve © Sarah Amy Fishlock 2016 all rights reserved.

I’m really excited to have the opportunity to join Document Scotland at this stage in my career – I think it’s important to have other artists to collaborate with, and to support and be supported by. I feel passionately about getting Scotland’s photography seen, not only by people in the industry, but also making connections with those outside it. Document Scotland is making this happen, through the website, events and salons as well as exhibitions. It’s a very exciting time for photography in Scotland, and I’m really pleased to be a part of it.

SG: Thank you for joining us Sarah and for taking the time to do this interview Sarah, we’re excited to be working with you!

If you’d like to see more of Sarah’s work please …

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The past present

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It would be easy to label Larry Herman’s work as ‘old school’.

His photography is indeed imbued with an aesthetic sense which resonates the past. Grainy, monochrome images which depict life at a time when Scotland’s Industrial Age was coming to an end and the new service economy and its illegitimate offspring, unemployment and job insecurity, had not yet pervaded everyday life. This would do an injustice to Herman’s work, however, the context of which is directly relevant to peoples’ lives today: our never-ending struggle for financial security and survival; the ceaseless toil of work; the quest to find justice in an increasingly unequal Britain.

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Clydeside 1974-76 currently on show at Glasgow’s Street Level Photoworks, offers us a glimpse of a world which, in strict terms, no longer exists: The men in the blast furnace at the Ravenscraig steel mill, the workers dwarfed by ships under construction on the Clyde; a woman, head bowed in concentration, sewing pockets to garments in a factory in Campbeltown, of all places. These locations, once the lifeblood of countless Scottish communities, swept away in the Thatcherite firestorm, now consigned to memory and preserved in a thoughtful, honest and soulful manner by Larry Herman’s photographs. They are intimate moments which humanise industry.

The title of the show may be geographically misleading, but the sentiments and honesty behind the work endures and cuts through this narrow definition of the life and land surrounding Scotland’s most famous – and infamous – river. By including images from as far afield as rural Argyll and Ayrshire, we are allowed to spy different aspects of life and work in 1970s Scotland. The pictures do not romanticise working life in Scotland, often the curse of the commentariat which likes to hark back to some ‘golden age’ when the world was Clyde built (neglecting to observe that this was all done on the blood, sweat and tears of the working man and woman). At the same time, Herman’s images do not portray a negativity and grimness of the occasional visitor or voyeur. His was a project, constructed over two years, which allowed him the time and space to develop his themes and narrate carefully a political strand to his output which subtlety and successfully takes a stand.

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If inequality is an oft-bandied word in today’s political lexicon, then some of Herman’s images in this show demonstrate starkly that it has always existed. The photograph of the fatted, ruddy country squires sits uneasily with a picture of family life in the vast, sprawling streets-in-the-sky of Glasgow’s Red Row flats. It is classic epic and everyday, woven together by a determinedly singular vision of the world, which has sustained a passion and fire in Herman’s work until this day, where he still shoots stories and projects with those same political themes at their core.

We emerge from the gallery, blinking in the early-October sunshine as people of all races, cultures and backgrounds colourfully tumble down Argyle Street, shopping bags swinging, music blaring. I remind myself that so much has changed for the better in this city and the regions surrounding it in the past 40 years, but at the same time, so much has remained the same.

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Larry Herman’s photographs are a reminder that photography can still prick our conscience and be a call to action, even after all these years. It is a timely rejoinder to anyone who thinks ‘old school’ is dated and irrelevant in the digital age.

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Clydeside 1974-76 by Larry Herman continues at Street Level Photoworks until 27th November, 2016. There will be a Q&A event with Larry Herman, Noni Stacey and gallery director Malcolm Dickson on Saturday 22nd October at 3pm, which is free to attend.

Gallery photographs © Colin McPherson, 2016, all rights reserved.

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Peripheral Histories

A few friends of Document Scotland are having a 2-venue show in the coming weeks called Peripheral Histories. See below for all the important info and hope to see you at one of the two venues for this Street Level Photoworks supported show! We’re told there is different work in each venue, so make sure to visit both for the full show!

 

Peripheral Histories

Main Exhibition takes place at: Platform, Glasgow: 5 August – 18 September 2016
with a smaller representation of work at The Lighthouse, Glasgow: 5 August – 2 October 2016

Opening Reception: Saturday 13th August, 3-5pm, The Lighthouse, 11 Mitchell Lane, Glasgow (Level 4).

A two-venue exhibition featuring work by four Glasgow-based artists. Kotryna Ula Kiliulyte combines photographs made by her father in the last days of the Soviet Union’s grip on her native Lithuania and her own images of life in the West made using expired film as old as the one used by her father. Calum Douglas explores the tension between science and belief in the search for extraterrestrial life in America’s southwestern states, while Alan Knox explores the relationship between the sublime and the uncanny by documenting the architecture of space simulation at the Mars Yard test area, constructed by Airbus Defence and Space in Stevenage. Sarah Amy Fishlock takes the trajectory of her late father’s life as a point of departure to investigate ideas of grief, mortality and memory.

Peripheral-Histories_small

 

Sarah Amy Fishlock

Sarah Amy Fishlock (b. Glasgow, 1986) works mainly with lens-based media, found images and publications. Her work explores the relationship between the individual and wider social, historical and political realities, the tension between cultural and familial identity, and the problematic nature of memory. Notable projects include Middlemen, a portrait of three Iraqi former British Forces workers, now resettled in Glasgow, Amye & Ahren, documenting a family living with autism, and a 9-month period as Artist in Residence at Glasgow’s Citizen’s Theatre in 2013/14. Sarah’s work has been featured by Der Grief, BBC News In Pictures and Foto 8, and exhibited internationally at venues including Calumet Gallery (New York) the British Council Gallery (Delhi) and the Consul’Art (Marseille). UK exhibitions include the Scottish Parliament (Edinburgh), V&A (London) and Glasgow Women’s Library (Glasgow).

(Sarah’s) Beloved Curve examines the transitory nature of human life in relation to the cyclical and constantly regenerating natural world, as well as being a personal chronicle of my attempts to understand and come to terms with the death of my father, Michael, in 2004. Using double exposure techniques to create a dialogue between my father’s documented (photographed) past and my immediate, unknowable present, the work attempts to reconcile the two realities that grief creates: a before, in which the beloved is a living, breathing person, and an after, in which they exist only in the memory of the bereaved, resigning agency to the imagination of the living. These images speak to the undulating, cyclical nature of grief – in some, my father’s presence is clear, his features perfectly recollected. In others, he is indistinct, as my memory of his physicality is erroded by time, his reality slowly reclaimed by the natural world, receding into the past as my own trajectory continues into the future.

© Sarah Amy Fishlock.

© Sarah Amy Fishlock.

 

©Kotryna Ula Kiliulyte

©Kotryna Ula Kiliulyte

 

Kotryna Ula Kiliulyte

Kotryna Ula Kiliulyte is a Lithuanian artist based in Glasgow. She holds a BA in Visual Communication and a Masters in Fine Art with distinction from the Glasgow School of Art. She has exhibited nationally and internationally including Kaunas Photography Gallery, Street Level Photoworks Glasgow, Calumet gallery New York, British Council New Delhi and Rovinj Photodays Croatia. Kotryna is a recipient of grants and awards from Lithuanian Culture Council, Glasgow Visual Art and Craft award scheme, Eaton Trust and Educational and Marshall Trust Glasgow. Kotryna works with photographic image, archival materials, moving image and installation.

Kotryna writes: This body of work combines archival photographs taken by my father in the last decade of USSR’s existence and pictures made by me 30 years later. Unexpected finding of previously unseen negatives showing travels, political events and family scenes prompted me to initiate a visual dialogue in between two different geographical points in Europe, two eras and two political regimes. I am mainly using expired photographic films as old as the ones my father had used- thus questioning notions of time, memory, change and the medium itself. The familiar and the surreal, the personal and the political, memory and expectation weave the visual narrative on the photographic emulsion that is as old as me.

©Kotryna Ula Kiliulyte

©Kotryna Ula Kiliulyte

 

Alan Knox

Alan Knox is a photographer based between Glasgow and London.  Since graduating from the Glasgow School of Art where he was the recipient of the Chairman’s Medal, his work has been featured in the British Journal of Photography, Creative Review, GUP, Der Greif and BBC News In Pictures, whilst in 2015 he was named as a finalist in the Daniel Blau Gallery’s 5 Under 30 competition and the Jill Todd Photo Awards. In 2016 he was named as a winner of the Magenta Foundation Flash Forward Awards.

Life on Mars explores the relationship between the sublime and the uncanny by documenting the landscape of Mars as constructed by Airbus Defence and Space at their base in Stevenage.  In the photographic reconstruction of the Martian expanse, the site becomes a liminal boundary between the finite matter of the universe and the infinite expanse of the unknown.  As engineers test the development of the Mars Rover to search for evidence of life on the red planet, the Rover once complete is due to land on Mars in 2020.

 

©Alan Knox

©Alan Knox

 

©Alan Knox

©Alan Knox

 

Calum Douglas

Calum Douglas’ work explores themes of belief, representation and contradiction.His series Only The Dead Have Seen The End Of War looked at the ever evolving conflict in the Middle East. With this series Douglas wished to create work that questions the typical images we see of modern conflicts in the media, while also forcing the viewer to confront their own morality and mortality. The work was exhibited in London and Rome and was featured in British Journal of Photography, GUP and Magenta’s Flash Forward 2016 Catalogue.

Douglas’ most recent series Where Is Everyone? explores other complexities that face humanity, in a search to understand our innate desire for answers to our existence. The series has featured on It’s Nice That and The Guardian Online. In September Douglas will be relocating to Switzerland to embark on a Masters of Photography at ECAL, where he plans to further explore the themes within his recent work.

 

© Calum Douglas

© Calum Douglas

 

© Calum Douglas

© Calum Douglas

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Jeremy Sutton-Hibbert “Best Shot”

Screen shot 2016-07-14 at 09.59.22

 

Jeremy’s image from the Glasgow shipyards, taken in 1992 and currently featured in the exhibition Govan/Gdansk at Street Level Photoworks in Glasgow was featured in the Guardian this week with an interview by Ben Beaumont Thomas.

 

You can read the interview here:

“In the 1990s I lived in Govan, on the south side of Glasgow, near the shipyard. At the time, it was owned by a Norwegian company called Kværner, but before that it had been John Brown’s and Fairfield’s. Those are the famous names in Scottish shipbuilding. You hear talk of the days when 10,000 men worked in the yards. Sadly, that was before my time.

In the 1990s, I travelled a lot in eastern Europe. I remember talking with a worker in north east Romania, far from any coast or shipbuilding area, and he knew of Glasgow as a shipbuilding port. I always thought that was great: I love the fact that my city is known either for Rangers and Celtic – or for shipbuilding.

I wanted to grab my own little slice of Glasgow history. These are the shipyards that helped build the city and make its industrial capabilities renowned the world over. There are three yards in Glasgow now. Two are owned by BAE Systems and dedicated to defence. I haven’t tried to get in, but I’ve been told it’s pretty much impossible. The third yard, Ferguson Marine, nearly went into liquidation in 2014.

I took this in 1992, a year before Glasgow gave Nelson Mandela the freedom of the city – another project I worked on. I was 24 and wanted to get into the yards before that world disappeared. I remember being impressed by the monumental scale of it all. Parts of the ship seem quite organic: the blades of the propeller look like the underside of a whale. I shot it on an old Nikon in black and white, as that puts the focus on shapes and sizes. People have asked me if it’s perspective that makes the workers look so tiny. But it’s not. They are to scale.

A launch is an incredible thing. You hear all the klaxons going off, the speeches, the champagne bottle being broken against the ship. Then the wedges and things that hold the ship in place somehow get removed and the ship starts to slide. As it gathers pace, those huge restraining chains make an enormous noise and all the rust and dust rises into the air. The sound would echo off the buildings all around. It was a romantic, emotional moment.

A guy agreed to take me round in exchange for a print to hang in his house. I was no student of shipbuilding. I just reacted to what was in front of me. I seem to remember thinking the yards were “stour” – that’s a great Glasgow word, meaning musty and dusty. I mean, you’re outdoors and beside a river, so you get a lot of fresh air, but these are still big dusty places.

I’ve spent a lot of time on Greenpeace ships: the Arctic Sunrise, the Rainbow Warrior. I travelled the world: the Pacific, Brazil, Korea, New Guinea. Also, in the 1990s, I spent a lot of time on North Sea fishing boats. For a landlubber, I’ve done a lot of boatwork.”

 

Jeremy Sutton-Hibbert’s shipyard photos feature in Govan/Gdansk, at Street Level Photoworks, Glasgow, until 31 July.

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Common Ground Exhibition – Part Two!

Happy 2016 everyone – to kick start this year Document Scotland have once again joined forces with our good friends the Welsh collective A Fine Beginning. Continuing our theme of collaboration and partnership to show our exhibition Common Ground.

The exhibition opening evening (to which you are all most welcome) is on Thuesday 4th February at 6pm at Wales Millennium Centre, Bute Place, Cardiff Bay, CF10 5AL.

The show was first exhibited at Street Level Photoworks in Glasgow from August to October in 2014.

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It will now travel to Wales to be shown at The Millennium Centre in Cardiff from 5th February – 10th April 2016. Where Document Scotland and a Fine Beginning will also deliver a series of FREE talks and portfolio reviews.

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The publication to accompany this exciting collaboration, also called Common Ground, is on sale via our website, and at various retail outlets across Scotland.

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Here’s the press release for the Cardiff phase, Part 2, of Common Ground.

We hope you can join us at one or more of the events.

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As ever thank you to our partners and funders.

 

 

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National Galleries events – Curators’ Tour

On Thursday 14th January 2016 Anne Lyden, International Photography Curator of our exhibition “The Ties That Bind” currently on at The Scottish National Portrait Gallery, will lead a tour of the exhibition from 5pm – 5:30pm.

All are welcome – this event is FREE.

For more information please see here

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National Galleries events – Malcolm Dickson talk

Malcolm Dickson, director of Street Level Photoworks, Glasgow will give a lunchtime talk on 13th January at The Scottish National Galleries to accompany our exhibition “The Ties That Bind” currently on at The Scottish National Portrait Gallery. All are welcome – this event is FREE.

For more information please see here

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Nelson Mandela, Glasgow 1993.

I’m very pleased to let you know that the black and white images I took of Nelson Mandela, in Glasgow in 1993, when he came to here to receive the Freedom of the City (and which I’ve written about previously), have been published as a little book by the industrious Craig Atkinson at Café Royal Books.

On November 21st at Street Level Photoworks, Glasgow, I’ll be doing a Q&A about my recent publications with Café Royal, as well as my Unsullied And Untarnished book. Fellow photographers Sophie Gerrard, Chris Leslie and Simon Crofts will also be there talking of their recent publications.

Many thanks,  Jeremy.

 

Jeremy Sutton—Hibbert
Nelson Mandela Glasgow 1993
05.11.15
28 pages
14cm x 20cm
b/w digital
Edition of 150

Available from Café Royal Books, in limited numbers.

 

Jeremy Sutton Hibbert— Nelson Mandela Glasgow 1993

Jeremy Sutton Hibbert— Nelson Mandela Glasgow 1993

Jeremy Sutton Hibbert— Nelson Mandela Glasgow 1993

Jeremy Sutton Hibbert— Nelson Mandela Glasgow 1993

Jeremy Sutton Hibbert— Nelson Mandela Glasgow 1993

Jeremy Sutton Hibbert— Nelson Mandela Glasgow 1993

 

A few copies are also on sale at the Scottish National Portrait Gallery, Edinburgh, where the Document Scotland ‘The Ties That Bind‘ show continues, and Street Level Photoworks, Glasgow, have some of the Mandela books also.

 

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What the papers say!

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Document Scotland’s latest exhibition – The Ties That Bind, curated by Anne Lyden and currently on at the Scottish National Portrait Gallery has now been open for over a month. We have been absolutely overwhelmed with the response. Thank you all of you who have already visited – and to those of you who haven’t had the chance – it’s on until 24th April 2016 so there’s plenty of time.

 

Here’s some selected press and reviews of the exhibition so far…

 

David Pollock interviewed Document Scotland and wrote an insightful article about the exhibition in The Independent

Janet Christie wrote an in depth article in The Scotland on Sunday about each of the Document Scotland photographers’ work.

Duncan McMillan gave ‘The Ties That Bind’ a 4 star review in The Scotsman

A review of ‘The Ties That Bind’ is featured in Photomonitor written by Dr Katherine Parhar

The exhibition was featured on the BBC: In Pictures feature by Phil Coomes

 

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The Ties That Bind’ was featured in The List Magazine

Jeremy Sutton-Hibbert’s work ‘Unsullied & Untarnished’ was featured by The Daily Record

The Photographers’ Gallery featured Sophie Gerrard’s project ‘Drawn To The Land’

Stephen McLaren’s project ‘A Sweet Forgetting’ was featured in The New York Times Lens Blog

 

 

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The National newspaper also featured a piece on Stephen McLaren’s project ‘A Sweet Forgetting’

As did The Sunday Herald – which featured ‘A Sweet Forgetting’ on the cover story of its weekend magazine one year on from the Referendum. 

Sophie Gerrard was interviewed by Annie Brown of The Daily Record for an in depth article about her project ‘Drawn To The Land’

The British Journal of Photography also featured a beautifully written article on Sophie Gerrard’s work by Jamie Dunn

 

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Brighton Photoworks interviewed Sophie Gerrard about ‘Drawn To The Land’, you can see a slide show here. 

An article on the exhibition by Kevin McKenna was featured in The National newspaper

Colin McPherson was featured in a BBC film by Dan Curtis about his project ‘When Saturday Comes’ – watch it here

 

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ITV News featured Jeremy Sutton-Hibbert’s work ‘Unsullied & Untarnished’

Jeremy’s book of the same name was reviewed by The Scotsman

And ‘Unsullied & Untarnished’ was also reviewed in Photomonitor by Dr Katherine Parhar. 

 

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Please remember….  we encourage photography in the exhibition and for you to share your views, thoughts, and images on social networks. Don’t hesitate to get in touch.

 

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Collecting The Gorbals.

A Stroll Through The Gorbals

To walk in the Gorbals area of Glasgow is to walk through a district of this city immortalised in iconic photographs, a district whose name is known far and wide, for better or for worse, and whose history has been captured in silver by some of the great photojournalists of the British post-War years. I couldn’t help but ruminate on this while there, in the Gorbals (and why is it always the Gorbals, never just Gorbals?), during a recent photographic assignment.

Radical Independence Campaign mass canvassing in support of Scottish independence, in the Gorbals, Glasgow, Scotland, June 2014. ©Jeremy Sutton-Hibbert 2014, all rights reserved.

Radical Independence Campaign mass canvassing in support of Scottish independence, in the Gorbals, Glasgow, Scotland, June 2014. ©Jeremy Sutton-Hibbert 2014, all rights reserved.

 

I was there to photograph canvassing and leafleting by supporters of the Radical Independence Campaign during the run-up to the recent referendum on Scottish independence. It was a sunny day, a Sunday, the streets had colour from the flowers people tended in gardens and from the colour of the shutters on a modern-designed apartment block. It was a million miles from some of those iconic images I carried with me in my mind, of Oscar Marzaroli’s fifty-odd Shades of Grey, or Bert Hardy’s two little ragamuffin boys forever linked arm-in-arm heading off on an immortal chore.

 

The Gorbals, © Sarah Amy Fishlock 2014, all rights reserved.

The Gorbals, © Sarah Amy Fishlock 2014, all rights reserved.

 

The Gorbals, © Chris Leslie 2008, all rights reserved.

The Gorbals, © Chris Leslie 2008, all rights reserved.

 

As I walked the streets it was impossible to recognise any landmarks from those iconic photographs, all had changed, all had gone, buildings torn down and their inhabitant’s memories moved on. All that was left to remember of those earlier times were the black and white images and the infamous tales they tell of poverty and deprivation, of children finding hope and entertainment on heaps of rubble and within chalked games on walls.

No one perhaps knows these Gorbals images better that Neil Carragher, a native of Hamilton, Scotland, but now retired and living in Canada. For the past decade or so Neil and his wife Blanche have worked hard amassing a collection of vintage photographs of the Gorbals and know the streets well. After my own sojourn around the same-but-different streets, photographing in digital colour, I spoke with Neil about their print collection.

Neil’s interest in these photographs stemmed, perhaps not so unsurprisingly, from originally collecting over a 30-year period art work by the Scottish colourists, and from owning “six or seven Joan Eardley paintings, one of which was a little boy with baggy pants hitched up, an old belt, an orange sweater and a skelly eye. It was so touching. I bought that one just when my mother died which was about 1993 and I still have it here in my collection. I love Joan Eardley’s work.

“I’ve travelled fairly extensively and left Glasgow immediately after my first degree, and I went to London and then to Switzerland. Putting that Scottish collection together helped me keep in touch with Scotland I guess. I knew all the dealers and auction houses over the years, but when my mother died I bought that little Scottish Joan Eardley. It was a chalk drawing on glass paper. And as I kept looking at that I kept remembering the areas of Glasgow that I knew when I went to university between 1956-1960 in Glasgow, which was just about the end of the Gorbals.”

I wondered if Neil had moved onto collecting the prints of Marzaroli’s street waifs and Bert Hardy’s street urchins as he had been one himself. But no, Neil explained, “I think you have to give that to Joan Eardley, as I had about half a dozen of her drawings and paintings, and the more I looked at them the more I remembered my childhood. So I wasn’t part of the Gorbals, but I did observe and when I was at university I stayed in Townhead, so used to see those children playing around outside. So when I started, I’m a keen photographer myself, mostly a travel photographer, so I decided that there had to be some remnants or there had to be some record of the Gorbals and Glasgow at those times existing. So I started a search which during the first few years was very painful indeed because I couldn’t get anything. I went to all the newspapers… but I discovered all, most of the newspapers as they were taken over by English and American companies, destroyed their old images. It’s scandalous, it’s the heritage gone. Those reporters should have been in the middle of it…”

But to be a collector is to not be put off easily, the hunt is after all sometimes the reward itself. Neil continued, “so I managed to contact Oscar Marzaroli’s widow, through a film maker friend and she was very reluctantly to see me but after a while she realised I was quite serious and I met her several times and she gave me access to the files that, the photos that Oscar left, which are a good part of my collection. Some of them, he did his own printing, so some of them are not brilliant, but certainly they are the original stuff. I loved his photographic eye. So I think I got more or less the cream of the crop from her and she told me basically he only had one showing since the time he died and he didn’t sell any from that, so it thought that was pretty scandalous too.” As with many artists it seems to achieve success or fame, Neil remarked, “you have to die first.”

But Neil’s collection has grown large over the years, Marzaroli’s images were “the start and I had to go to England to find photojournalists who had been sent up to Scotland after the war to photograph the worst slums in Europe. And through various methods I managed to contact one or two of the widows of those photojournalists. And I also got a collection, which had come from the old Picture Post magazine, which ended up in Chicago. And I bought a bunch of those from a professional photographic dealer in Chicago and also in New York. But none of those old photographs came from Glasgow or from Scotland full stop.”

To peruse the images of Neil’s collection is to be reminded of the great power of photojournalism in the post-War years, of the great names of Picture Post, or of pre-eminent photographers Bill Brandt, of John Bulmer, Grace Robertson, Margaret Watkins and many more.

Neil reminisced, “As I continued looking for old Glasgow photographs I found that Glasgow wasn’t unique of course, Liverpool was the second port and had just as many problems with immigration and resettling people as Glasgow had. Then I went on to collect photographs of London after the Second World War with children playing in the streets. The fact was I just couldn’t find any more Gorbals photographs but I liked the theme and I thought it was concentrated enough to continue picking up those older photos.

I think I view the collection as an historical statement which should be preserved and used for research into historic social issues that Scotland and even part of those blitzed areas in London and Liverpool have. The reason for that is I found people, my contacts in Glasgow and Edinburgh, were not in the least interested in that time period. It was almost like it was a black era. Scotland may have had that but it was only a microcosm of the society and therefore we should forget about it. And I don’t think it should be forgotten at all, because these places like the Gorbals produced people who worked extremely hard, whom a lot of them emigrated and have done extremely well. We should take that as being a significant positive rather than being a negative.”

Did Neil class himself with these people I wondered? “I do. I had to leave Scotland in order to get on because the opportunities within Scotland itself were very limited.”

But those opportunities he went on to find enabled him to build, in time, his large collection of photographs, “I think it is about 300 prints. I’ve never sat down and counted, but someone told me, I said there must be 200 and they said no there is 300 here. But that is somebody who was going through it with a toothcomb with the objective of taking it and putting it into an archival collection.

Well it ended up as not just Gorbals, Gorbals was the principal theme and as I said I ran out of work to collect or people who would give me some work. My objective now is to give it away in one piece.”

I was intrigued to know of the options available to a collector specialising in vintage prints of one particular city neighbourhood, from a very particular era. What images existed, was it solely waif-like children playing on street corners, or was there more to be seen? Neil explained, “Oh, quite a few, I wasn’t interested in particularly general landscape work, but there is one or two showing the demolition of the Gorbals but that is enough just as the background. I was more interested in the social side of it. How the children amused themselves, you know children have a capacity to enjoy themselves no matter what the conditions are. And I had to have photographs of the situations in pubs, now you see some older ones there. I actually commissioned a young photographer, Johan Campbell, who comes from Glasgow, to go back over and photograph, to go inside the pubs of Glasgow, and of Celtic supporters, and also to photograph outside the games. I also have work by David Gillanders, I got to know him quite well. I just love his work. I think he is the only serious social photographer that I’ve encountered in recent years. So I thought I had to include his work. So it’s not just about children, I mean Glasgow on a Friday night it shows the vicious side of it, but then that does exist. And I think it should be recorded. It’s not meant to be a sweety confectionery type of collection. It’s meant to be hard and tough. I’m not sure if that comes over.” He continued, “I’ve got a series done by a South African artist of men coming out of the shipyards and in the pubs, standing there you know with a pint and a half, they’re getting drunk before they go home and give what’s left to their wives.”

I asked Neil what his wife Blanche, who hails from Ayrshire, thinks of his collecting habit, “…my wife has put a stop to this for the time being. She says I have to find a home for it, you know preserving photographs is not an easy task. They have to be in terms of temperature and humidity well preserved. I’ve done my best here but now I need storage. So I’ve certainly paused it for further reflection. Let’s put it that way and this collection as such stands on its own and I think my next job is to find a home in Scotland for it.”

I was intrigued as to whether or not his wife lends a curatorial eye when viewing work to purchase, Neil laughed, “Ha! She’s a good critic, let’s put it that way!”

And what of the work that escaped, sometimes even good collectors can’t find everything. Without pause, Neil replied, “yes there was a guy– Joseph McKenzie. I met Joseph half a dozen times in his home. I viewed his collection. I would have died to have some of those works. He was not budging. And we kept a correspondence, over several years.”

And now in the era when everything is limited edition and aimed to be collectible, with the internet and it’s plethora of selling and buying sites, auction houses and yard sales, is it easier now to collect these prints? “Getty bought most of the Picture Post and it is easy to look at those photographs and buy modern prints but that was not my interest. So yes you can. I was interested in getting older prints as original as possible, as close to the date as I could that they were photographed. That’s part of the art of collecting I think and that’s why I think the collection has a little bit of heft. Yes you could put together a modern print version of the collection very easily indeed.”

As a working photographer here in Scotland myself, and as a co-founder and member of Document Scotland – a collective of four working photographers in the documentary field, I was intrigued to ask Neil his view of the industry here. He was happy to share his insight, “I found very few contacts in Scotland that I was able to make that were the least interested in photography. You’re a photographer yourself you correct me if I’m wrong. I contacted half a dozen of the photographic clubs and so on, pah, they wouldn’t give me the time of day. I don’t know why, when, if I do that in North America I usually get some sort of feedback, it’s easier to make contacts. I don’t know.

In terms of my art collection, none of the people who you’d regularly go to for let’s call it fine art, were interested in photography. I think the one exception is the Fine Arts Society that put a collection of Marzaroli’s work three or four years ago but it was just a six week ‘let’s see if we can sell some of these’ type of thing…Why there is not a deeper interest in, let’s call it fine art photography, I don’t know.”

“When I talked to David Peat before he died, I bought his collection, he hadn’t sold any. So I bought the whole collection that he had and he kept the original which has been given to the National Portrait Gallery in Edinburgh, but I bought the only copy that he made. He was of course in the business for a long time and he was echoing what you’re saying. Nothing has changed and Marzaroli was the same, and essentially died in poverty. Tough field photography for a professional. That’s not the case in North America, or France, Germany. I think it is easier if people understand it is a fine art and to be encouraged. It will come but you know Scotland always was a wee bit behind.”

And is there a difference between collecting within Scotland and England? “My experience of England is mostly London, which is a bit of an international microcosm.” And with a smile in his voice, “there’s three or four people there over the years who I’ve dealt with, thieves and vagabonds, but never the less they do try.”

And from these thieves and vagabonds, I wondered does Neil collect any contemporary Scottish photography? Why only stop in the days of Picture Post, even life in the Gorbals now comes in glorious technicolour? “I haven’t tried, nor would I know how to source it. That’s really what I’m saying to you. I did have a contemporary Scottish art collection, young people, contemporary, looking for a sale. What I loved about that was meeting the artist and him explain his work and how he went about it. Now if there was such a medium available in Scotland for contemporary photography I think that would be very encouraging, but I didn’t find it.

Scottish contemporary art is very expressionist, they are certainly very different to what is produced in England and that is why I loved it. I found Scottish contemporary art to be very creative and I’m sure that is exactly the same with photography.”

I assure Neil at this point that there is good contemporary photography being produced here, Document Scotland have been showing work by many photographers at our salons, in our publications and shows. We, as a photography collective, try to enable one viewing platform where collectors like Neil can see work from the young and enthusiastic, as well as old and experienced photographers who are still out there, still walking the streets, carrying colour digital or old school black and white and who are still producing work in Scotland. I mention to Neil that Document Scotland recently had the honour of Glasgow-born photojournalist Harry Benson CBE generously accepting our invitation that he become the collective’s Honorary Patron, and I had noticed that Neil, in his collection, has a few of Harry’s prints.

“I met Harry in New York, when we’re talking about contemporary photography and contemporary art and I said I like to meet the artist and talk of why they’re doing their work. I met Harry in his apartment in New York and he told me of his life and I took a few prints from him. Particularly the one in Kelvingrove Park, the kids in the fountain, which is a famous one, I wanted to get it from him. That made a big difference, and he talked about how tough it was for him and how it’s only in recent years he’s been accepted as being a social photographer in Scotland. He’s just a lovely man. He’s a survivor too. For me meeting him made me enjoy his photography more. That’s the link I think.”

Glasgow-born photographer Harry Benson, at home in New York, © Stephen McLaren/Document Scotland 2014. All rights reserved.

Glasgow-born photographer Harry Benson, at home in New York, © Stephen McLaren/Document Scotland 2014. All rights reserved.

 

And with that Neil accepted my invitation to join Document Scotland for a salon event next time he is home in Scotland, an evening when Scottish contemporary photographers who walk the same streets as Bert Hardy did, entering similar houses as Bill Brandt and Thurston Hopkins, can share work, share thoughts and hopes and raise a glass to those who went before but whose prints still reflect the way ahead.

All text © Jeremy Sutton-Hibbert/Document Scotland 2014. All rights reserved.

The images reproduced above do not form part of Neil Carragher’s Gorbals collection and are used as examples of contemporary work from the Gorbals area, by contemporary photographers.

Sarah Amy Fishlock‘s image comes from her series ‘Citizens’ – ‘During my time as Artist in Residence at the Citizens Theatre between July 2013 and February 2014 I worked on a range of participatory photographic projects with theatre staff, audiences and community members. Citizens documents theatre staff in their unique working environment, as well as the changing landscape around the theatre, situated in the Gorbals, Glasgow.’

Chris Leslie has been documenting the changes in the east end of Glasgow in his project Glasgow Rennaissance, and in his new book ‘Nothing is Lost‘.

Thanks to Marc Boulay, formerly of the St. Andrews University Special Collections Photography Archive, for the introduction to Neil Carragher and his collection of Gorbals images.

And of course thank you to Neil Carragher for sparing time to chat and his kindness in allowing us to write about his collection. Thanks Neil!

See also The Gorbals, by photographer John Claridge, from Cafe Royal Books.

 

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