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.

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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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Jo Spence

Photo Therapy, (1984-86) Jo Spence in collaboration with Rosy Martin Copyright the Estate of Jo Spence. Courtesy Richard Saltoun Gallery

Photo Therapy, (1984-86) Jo Spence in collaboration with Rosy Martin Copyright the Estate of Jo Spence. Courtesy Richard Saltoun Gallery

 

The work of Jo Spence, British photographer, educator and writer (1934 – 1992) is the focus for Stills Gallery’s summer exhibition. Curated by Ben Harman, the exhibition presents a powerful and important collection of Jo Spence’s work from her documentary work and collaborative projects to her self exploratory portraiture.

From Stills exhibition introduction:

‘Typically working in collaboration with individuals or groups, using the camera as a tool to empower herself and others, Jo Spence explored how photography can represent, frame and construct reality. She worked tirelessly to address issues such as class, family, sexuality, illness and death and made a hugely influential contribution to photographic practice and debates around the politics of representation.’

 

Children’s Educational Work , 1973-75 Jo Spence in collaboration with Terry Dennett Installation view at Stills, Edinburgh, 2016 Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

Children’s Educational Work , 1973-75 Jo Spence in collaboration with Terry Dennett Installation view at Stills, Edinburgh, 2016 Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

 

Children’s Educational Work , 1973-75 Jo Spence in collaboration with Terry Dennett Installation view at Stills, Edinburgh, 2016 Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

Children’s Educational Work , 1973-75 Jo Spence in collaboration with Terry Dennett Installation view at Stills, Edinburgh, 2016 Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

 

The exhibition is divided into three sections

  • Children’s Educational Work (1973-75) Documentary work from her long term collaboration with Terry Dennett including images from Children Photographed, Adventure Playgrounds and The Secret World of Children.
  • Self Portraits (1978-92) Jo’s challenging and powerful self exploratory images made in collaboration with others and including photographs about her breast cancer diagnosis.
  • The Polysnappers (1981) A rare collection of panels from the degree show work Family, Fantasy and Photography by the collaborative group formed when Jo Spence was a student.

 


Document Scotland were kindly given the opportunity to speak to Ben Harman Director of Stills Gallery and curator of this exhibition, Mary-Ann Kennedy lecturer at Edinburgh Napier University and a member of the Polysnappers who worked with Jo in the 1980s and Malcolm Dickson Director of Street level Photoworks who curated an exhibition of Jo’s work in Glasgow in 2005.

We asked Ben, Mary Ann and Malcolm about their experiences working with Jo, creating work collaboratively, curating exhibitions in Scotland and why her work is important, and ever relevant in 2016.

We hope you enjoy the images and interviews. Do catch the exhibition at Stills if you can, it’s on until 16th October 2016 and one not to miss this Festival.

 


 

Document Scotland: Ben, what attracted you to curate this exhibition of Jo Spence’s work at Stills Gallery in Scotland at this time?

Ben Harman: In my previous job as Curator of Contemporary Art for Glasgow Museums I was regularly in touch with Terry Dennett from the Jo Spence Memorial Archive in London and I included Jo’s work in several exhibitions at GoMA between 2004 and 2013. Glasgow Museums had acquired work from Jo in about 1990, towards the end of her life. As far as I’m aware, it was the first public collection in the UK to do so.

Jo has been represented in themed group exhibitions at Stills in the past but a solo show in Edinburgh seemed long overdue. The timing of our display is largely due to our interest in presenting her work during the Edinburgh Art Festival at a time of year when we typically receive our highest audience figures. During last year’s festival, our exhibition of work by kennardphillipps was incredibly well received and so for 2016 we wanted to offer something similarly concerned with how photography can alter and inform our experiences of the social and political issues of our time.

Jo Spence installation view at Stills, Edinburgh, 2016. Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

Jo Spence installation view at Stills, Edinburgh, 2016. Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

 

DS: Malcolm, in 2005, along with Terry Dennet of the Jo Spence Memorial Archive, you curated the exhibition ‘Jo Spence : Photographer – Works from the Archive’ at Street Level Photoworks in Glasgow. Can you tell us a little about that exhibition.

Malcolm Dickson: Jo was, of course, a pioneer in photographic practices but also a prolific writer, teacher and cultural worker across the board. What appealed to us was the inspiring combination of an oppositional stance with an exploratory and playful spirit. She also had a salient position in terms of the subject which is never talked about – Class! Jo believed that everyday life is the source of all meaningful art – photography is a tool that can be used by everyone in any situation for self-knowledge, personal growth and of course social critique.

The exhibition at Street Level covered three decades – some from her early high street studio work in the mid 70s; works from the mid-80s on self-image, class and health; and the ‘Final Project’ in the 90s, in which we presented 15 newly produced and framed prints which illustrated her allegorical approach in still lives.

A wall also contained wallpapered posters from collectives she helped establish – Photography Workshop, Half Moon, Camerawork, the Hackney Flashers and the Polysnappers. We also had available a number of copies of Photography Politics which she co-edited with Terry.

 

DS: Ben, why did you focus on the particular elements of Jo Spence’s work you’ve gathered together for this exhibition at Stills?

BH: We wanted to find a way of presenting work that Jo is well-known for as well as material that hasn’t been seen in Scotland before. In this way the exhibition might serve as a point of interest for those that are familiar with her work as well as an introductory overview for those that are not.

Past exhibitions in Scotland, such as at Street Level Photoworks, Glasgow in 2005, have covered much of the ‘Final Project’, her last series made in collaboration with Terry Dennett, so we are only exhibiting two works from that series.

The term ‘Self Portraits’ is a bit inadequate in relation to Jo’s work which was always in collaboration with others but we found this to be a useful umbrella title under which to show examples from a variety of her projects and collaborations from the late 1970s onwards. These are presented in our front gallery.

The photographs from Children’s Educational Work has been available as research material but is very rarely seen. I felt it was important for this to be on display as it provides a fascinating background to Jo’s later work and shows where she wanted to take photography at a time when she had become completely disillusioned with her commercial photography business.

The Polysnappers material is quite simply unique and has not been on public display on this scale since 1981. The group were formed at the Polytechnic of Central London, where Jo had enrolled as a mature student in 1979, and Family, Fantasy & Photography was their final degree show. At the core of this work is a concern with the politics of representation. For the inclusion of this work I have to thank Mary Ann Kennedy who was a member of The Polysnappers (along with Jo Spence, Charlotte Pembrey and Jane Munro) and is based in Edinburgh.

 

Family, Fantasy & Photography, (1981) by The Polysnappers Installation view at Stills, Edinburgh, 2016 Courtesy Mary Ann Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence Photo © Alan Dimmick

Family, Fantasy & Photography, (1981) by The Polysnappers Installation view at Stills, Edinburgh, 2016 Courtesy Mary Ann Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence Photo © Alan Dimmick

 

Family, Fantasy & Photography, (1981) by The Polysnappers. Installation view at Stills, Edinburgh, 2016. Courtesy Mary Ann Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence Photo © Alan Dimmick.

Family, Fantasy & Photography, (1981) by The Polysnappers. Installation view at Stills, Edinburgh, 2016. Courtesy Mary Ann Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence Photo © Alan Dimmick.

 

DS: Speaking of the Polysnappers, Mary Ann – in this exhibition at Stills we see a large (and rare) display of panels produced in 1981 by ‘The Polysnappers’ a group which you were a part of  – could you tell us a little about who they were and how/why they came about?

Mary-Ann Kennedy: I was a photography student at the then polytechnic of central London with a determination to work collaboratively whenever possible and a commitment to education and visual literacy. Charlotte, Jane and I had been working together when Jo joined the poly in our second year.  By the end of that year we formed the Polysnappers to address the politics of representation, visual literacy and the responsibilities of the image maker within an educational format – the travelling exhibition- that was accessible to a wide audience.

 

DS: What was the focus of your work as a group?

MAK: ‘Three Perspectives on Photography’ opened at the Hayward Gallery in 1979*, Community arts was beginning to embrace the use of photography, predominantly in its documentary format. Media education was interrogating film, TV and advertising but not the production and use of the photograph. We felt there was a space to visually work through the role photography plays in the formation of identities, in our understanding of the world and our place/position within it – and to make visible the personal as political.

Photography is a communicative tool, great for telling stories – as image makers we were concerned with the paucity of stories told, the voices silenced, and how photography too often colluded in those absences.

(* The Hayward Gallery’s first exhibition of photography described as “groundbreaking” by Gloria Chalmers in Portfolio Magazine)

 

DS: What was your experience of working collaboratively?

MAK: As with all collectives – we debated (argued!) but we found, acknowledged and worked to our individual strengths.  My memory may be of continual exhaustion but our depth of engagement and production level was only possible through collaboration.  We were able to push each other, network beyond our imagining as well well as learn new skills.  It was quite magic!

 

DS: What do you feel is the relevance and importance of showing this work in 2016?

MAK: The work was exhibited by the Cockpit Community arts project  for over 10 years but it has formed the basis of over 30 years teaching in higher education for me.  It may have been nostalgic for me to see it exhibited in a ‘retrospective’ –  I was rather concerned about how ‘dated’ it would look.  But it has been a salutary lesson in the response of, particularly, young women – the recognition that far too little has changed.  If the work is resonating with the current wave of feminism – a wider, more inclusive reflection on the role that photography plays in lived experience, then I’m indebted to Ben for showing it.

MD: The exhibition at Stills is a critical re-evaluation of Jo’s work and hones in on certain key material largely unseen since its original production – the collection from the Polysnappers for example; the original photographs from the studio portrait days and early days of Photography Workshop. It combines all the elements of Jo’s practice as a visual artist, activist, and educationalist very well and these elements are vital components in helping the public and younger artists to understand the inextricable link between them in a ‘practice’

 

Image credit: Various poster works, 1979 – 1995, Jo Spence. Courtesy Street Level Photoworks, Glasgow & Terry Dennett

Image credit: Various poster works, 1979 – 1995, Jo Spence. Courtesy Street Level Photoworks, Glasgow & Terry Dennett

 

DS: Ben, what was the reason to include only a small collection of Jo’s documentary work from the 1970’s in this current exhibition?

BH: It was important to have a representative balance of work in the exhibition so I didn’t want the content to be weighted too much in any one direction. However, Jo was extremely prolific and any one series or aspect of her work, such as this, could easily be drawn out for an exhibition in itself. There is also the practical reason that much of the documentary material from the 1970s is unframed and this has an affect on exhibition design and related costs.

I hope that each of the three sections of our exhibition offer enough of a taster to encourage visitors to go away and find out more about Jo’s work and ideas. A few comments have been made referring to our exhibition as a ‘retrospective’ which is flattering but far from the truth. Our presentation is really just the tip of the iceberg but the work must be seen!

In a note from Jo to Terry Dennett, discovered after her death in 1992, she quoted Woody Guthrie: “When I am gone don’t mourn – organise.”

 

Jo Spence, Adventure Playgrounds: Photographing housing communities and children’s playgrounds (1973-1975). Copyright the Estate of Jo Spence. Courtesy Richard Saltoun Gallery

Jo Spence, Adventure Playgrounds: Photographing housing communities and children’s playgrounds (1973-1975). Image © Copyright the Estate of Jo Spence. Courtesy Richard Saltoun Gallery

 

DS: What do you feel is the relevance and importance of showing Jo’s work in 2016. How is the show being received?

BH: We are 1 month into the exhibition and we are on track to have one of our busiest exhibitions on record. This is partly due to the enduring influence, importance and relevance of Jo’s work and ideas. The issues of class, illness, ageing, sexuality, family and gender politics that she addressed have not gone away. Her development of the Photo Therapy technique (with Rosy Martin) and her use of the camera as a tool to empower herself and others and to construct her own image seems to have anticipated contemporary trends.

MD: Although ten years apart, I think the recent show at Stills and the earlier one at Street Level have given substantial representation of Jo’s practice, and provided understanding of the convergence of political and artistic concerns that index community photography to all subsequent socially engaged practices in British Art.

I first met Jo in 1990 when she came to Glasgow and did a talk through the Free University of Glasgow that I was involved in at the time. She contributed an article around her book ‘Cultural Sniping’ to the relaunched Variant and her image was on the cover. The purchases made by Glasgow Museums of her work are very important in keeping her work circulating – Ben was an advocate of that in his previous role and it’s really satisfying to see that coming through in this excellent exhibition at Stills.

 

Jo Spence, Contact Sheet - Gypsies, Vintage Gelatin Silver Print, 1974 © Jo Spence & Terry Dennett image courtesy of Hyman Collection, London

Jo Spence, Contact Sheet – Gypsies, Vintage Gelatin Silver Print, 1974 Image © Copyright the Estate of Jo Spence. Courtesy Hyman Collection, London

 

Jo Spence, Contact Sheet - Gypsies, Vintage Gelatin Silver Print, 1974 © Jo Spence & Terry Dennett image courtesy of Hyman Collection, London

Jo Spence, Contact Sheet – Gypsies, Vintage Gelatin Silver Print, 1974 Image © Copyright the Estate of Jo Spence. Courtesy Hyman Collection, London

 

 

 

Many thanks to Malcolm, Ben and Mary Ann for speaking with us. Generous thanks also to Terry Dennett, The Jo Spence Memorial Archive & The Hyman Collection.

The Jo Spence exhibition is on at Stills Gallery, Cockburn Street, Edinburgh until 16th October 2016.

Further Resources:

 

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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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Home and away with Albion Rovers

Booklet Cover

Cliftonhill is one of the most evocative grounds in Scottish football, yet one suspects hardly anyone in Scotland could describe what it looks like or even – given Albion Rovers’ name – where it is. Photographer Iain McLean has spent many years visiting the ground as a fan and a photographer. His project, entitled More Than Just A Football Club has recently been published in book form. Here he chats to Document Scotland’s Colin McPherson, himself an aficionado of lower-league Scottish football, about his striking images of the Coatbridge-based club.

CM: I have several memories of visiting Cliftonhill in the 1980s with the team I supported, Meadowbank Thistle. The rubble-strewn ground was in a ruinous state, with its dungeon-like toilets and crumbling main stand and an owner who seemed part of the problem not the solution. And yet… it was always one of my favourite away days. From arriving at the ironic-sounding Sunnyside station to a pint in Big O’s before the game, the trip to Albion Rovers was always eagerly anticipated. When did you first connect with the club?

IM: In season 2000/01 my friend and Rovers stalwart Bill Walker suggested coming along to the club when I was on the lookout for a longterm photo project. I had never been to Coatbridge before and knew nothing of its history never mind anything about Albion Rovers. I’ll never forget seeing the stadium for the first time – a blaze of yellow and red alongside a busy road. It had an oddly exotic appearance from the outside with the colours standing out against the cold North Lanarkshire backdrop. I was impressed. Bill secured me permission to take pictures and I got started immediately. I found the fans to be welcoming and despite the state of the stadium – as you say, it was in need of a bit of TLC – I had a good feeling about being there. I originally shot on film – HP5 – developing and printing in my shed, and in the first season produced a few decent prints from games against Peterhead, Dumbarton and East Stirlingshire.

Albion Rovers v Arbroath, 2014. Photograph © Iain McLean, all rights reserved

Albion Rovers v Arbroath, 2014. Photograph © Iain McLean, all rights reserved

 

CM: Ah yes, those evocative colours, bright red and almost luminous yellow, certainly stood out from the more familiar grey sky which seemed to be ever-present there. I was particularly fond of Rovers’ mid-1980s strip which featured a series of red diagonal stripes to complement the then sponsors Tunnocks. A design classic. Your images are monochrome of course, so we’ll just have to add the colour in our imagination. What was the rationale behind using black-and-White for the project?

IM: Despite the colourful exterior,  as soon as I saw the inside of the stadium I knew the photographs had to be mono as the inside harked back to another time. Black-and-white gives the pictures a more timeless feel and also gives the whole project continuity. Your own excellent pictures in When Saturday Comes are to an extent dictated by editorial needs, but I have a little bit more freedom when it comes to how the pics are presented.

CM: Actually the WSC images reflect very much my approach to photographing football – the magazine gives me complete autonomy, it’s just the style I’ve developed over the last decade. I’d be interested in photographing a football project in mono, but I’m so drawn to the colour palette that I can’t imagine ever doing it. I think your images work really well in black-and-white as the emotion of what you capture is laid bare more starkly. You have also had the opportunity to stay close to the story, as it were, and develop a strong narrative. I love the ups-and-downs you portray. Were the Rovers supporters aware of who you are and what you are doing?

IM: I started very anonymously, just quietly mooching around seeing what was happening. Slowly the fans have become aware of me and what I am up to and I suspect I am viewed with something between mild suspicion and vague curiosity. The pics have been exhibited a few times as well as been published in local and national press, so they are well used to seeing their photographs in the public domain. I also offer a free print to anyone who asks for one by way of thanks as it is the least I can do to repay people for their help. Given that our average gate is around the 400 mark, I’m a bit limited with potential models but try not to feature the same characters too often. There are some brilliant subjects though and amongst my favourites are Andy and Mary. They are real golden-hearted gems who are, as they say in football, 110% loyal to the club, attending fundraising nights and events. Mary swears that by taking her knitting to away games it brings the club good luck. The fans (hopefully) realise that I am not out to embarrass anyone or make them appear foolish – certainly there are often quirky scenes or incidents that present themselves, but I love showing the humanity and warmth this particular group of people have. I guess the project could be about anything – I originally approached a local rugby club – but lucky for me Albion Rovers came along at the right time.

CM: Have you ever thought about widening it to include the playing staff, management, etc. Albion Rovers have had a few great characters down the years: I can imagine a night out with the legendary Vic Kasule might have had the film spinning through your camera! I suppose what I am asking is are you intending to carry on the the series, or do you feel the book marks the final chapter? It’s always difficult to know when to draw a project to a halt. There are usually milestones, after which the photographer takes stock and decides whether it’s worth carrying on. Where are you with it all?

IM: At one point I attempted to contact local people with a view to photographing them and hearing their thoughts about living next to a football stadium. Sadly nobody replied to the leaflets I posted through doors, but it may be worth another push with this idea perhaps offering some kind of incentive. Every time I think about bringing the project to an end a new opportunity arises. This year we are playing some excellent football and are currently holding our own in League 1, which is surprising because we were everyone’s favourites for the drop. So I have had new opportunities to visit new clubs (who are not in League 2) and also had the chance to record last year’s League Championship win, which as you would imagine was a fantastic day for the club and also for photo opportunities. Eventually I’d like to have a large exhibition of the photos – but first need a location and a good editor! The club have been accommodating and really helpful towards me. Provided I am not a nuisance I am allowed to go about my business in a quiet and discreet manner. I have seen various directors, chairmen and managers come and go but I rarely have any dialogue with them, although last week I met one of the directors for the first time when he was helping serve tea and coffee in the players lounge! A recent request to photograph the home, away and referee’s changing rooms was granted without any quibble and I am sure the club see the positive side to the project when we get good media coverage and have exhibitions here and there.

CM: So where can we get a hold of More Than Just A Football Club then?

IM: The 50 page photojournal is available priced £9.99 (+ p&p) from my websiteIt is also available from: Street Level Photoworks, Albion Roversfootball club, Summerlee Museum and Battlefield Framers in Glasgow.

CM: Thanks very much Iain, it’s been great talking to you. Up the Rovers!

Groundsman, Cliftonhill. Albion Rovers v Montrose, 2014. Photograph © Iain McLean, all rights reserved

Groundsman, Cliftonhill, 2014. Photograph © Iain McLean, all rights reserved

 

Albion Rovers v Montrose, 2014. Photograph © Iain McLean, all rights reserved

Albion Rovers v Montrose, 2014. Photograph © Iain McLean, all rights reserved

 

Albion Rovers mascot, 2015. Albion Rovers v Montrose, 2014. Photograph © Iain McLean, all rights reserved

Albion Rovers mascot, 2015. Photograph © Iain McLean, all rights reserved

 

Berwick Rangers v Albion Rovers, 2011. Photograph © Iain McLean, all rights reserved

Berwick Rangers v Albion Rovers, 2011. Photograph © Iain McLean, all rights reserved

 

Rangers v Albion Rovers, 2014. Photograph © Iain McLean, all rights reserved

Rangers v Albion Rovers, 2014. Photograph © Iain McLean, all rights reserved

 

Colin McPherson is “In Conversation With…” writer Kevin Williamson on Thursday 7th April, 2016 at the Scottish National Portrait Gallery in Edinburgh at 6pm. Entrey is free.

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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.

Screen shot 2016-01-09 at 23.00.29

 

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.

Screen shot 2016-01-10 at 01.01.11

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

1P4C5180

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.

Common-Ground-Press-Release-Wales-1 Common-Ground-Press-Release-Wales-2 Common-Ground-Press-Release-Wales-3 Common-Ground-Press-Release-Wales-4 Common-Ground-Press-Release-Wales-5 Common-Ground-Press-Release-Wales-6 Common-Ground-Press-Release-Wales-7 Common-Ground-Press-Release-Wales-8 Common-Ground-Press-Release-Wales-9

As ever thank you to our partners and funders.

 

 

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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

Screen shot 2016-01-13 at 09.03.10

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Mother Father, by Lucie Rachel

At a recent Street Level Photoworks ‘In Focus’ event, looking at book publishing, which we attended, we had the pleasure of listening to Lucie Rachel discuss her book-in-progress, ‘Mother Father’, a story documenting the relationship of her parents. Impressed with the work, and Lucie’s approach, we asked if we could showcase it here. Lucie kindly agreed….

 

Mother Father

Mother Father, by Lucie Rachel.

LucieRachel_2_BookSpread

 

Mother Father tells the story of my parents’ relationship through recent and archive
photographs, letters, diary exerts and online blog entries from both before and after my
father came out as transgender. Beginning with recent photographs of my Mother holding
her diary open on the page they met in 1979, the documentation follows the couple through
marriage, children, coming out and separation, finally leaving them in 2015.

 

LucieRachel_3_BookSpread

LucieRachel_4_BookSpread

The creation of the book was almost unintentional; a natural bi-product of my art practice.
I began working with my parents in 2013, almost two years after their separation. It was at
this time that I realised I knew very little about either of them and even less about their
relationship, especially from the years before my sister and I had become a part of it.
Through curiosity and an overwhelming desire to know and understand, the project began.
Originally I had no thoughts of making a book; I simply collected photos that I liked or felt
were insightful into an album, with no order or narration, which gradually grew in the
background into a substantial folder of material. Over a year later it had expanded to the
point of being a work in its own right. A compilation of photos, letters, blog and diary
entries which tell a story of love, hardship and acceptance, that I feel deserves to be told.

‘Without love, life has no purpose’ was the guiding principle of my Mother’s youth. Her
naive pursuit of true love was endearingly hopeless, built upon the foundations of
Hollywood cliches and Bronte novels. So when she met my Father on the eve of the New
Year 1976, she honestly believed she had found ‘the one’. Of course, reality never quite
matches up with expectations and her idyllic notions of married life were left to flounder in
the unpredictable but extraordinary relationship that was to follow.

 

Mother holding open her diary March 19th 1976, describing her first date with my father. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Mother holding open her diary March 19th 1976, describing her first date with my
father. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Lovers enjoying the summer of 1976, captured by a family friend. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Lovers enjoying the summer of 1976, captured by a family friend. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Their frst child arrives, feeling blessed they have a daughter. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Their first child arrives, feeling blessed they have a daughter. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Fortunately, this was an exceptionally well documented partnership. My mother kept a
diary, intimately documenting their seemingly normal relationship. Likewise, my Father
rarely removed the camera throughout most of their time together, not to mention the
many letters penned to my Mother during her college years which still sleep under her bed.

 

Alone in bed; my father behind the camera. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Alone in bed; my father behind the camera. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Taken by my 4 year old self, oblivious to what I was capturing. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Taken by my 4 year old self, oblivious to what I was capturing. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

However, during their fifth year together there happened a somewhat unusual revelation,
when my father came out to my mother as transgender. Unsurprisingly, this changed the
fundamental dynamics of their relationship and diverted them on a journey neither one of
them could have anticipated. The chronicling of the relationship was continued thereafter
in the form of an online blog kept by my father and further private writings by my mother.
The subsequent collection of materials follows their relationship from the exhilarating
highs of young love and through the turbulent waters of domesticity.

 

My father's frst pair of heels are still her favourite. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

My father’s first pair of heels are still her favourite. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

My father in her kitchen exuding discomfort; unable to be her true self in the moment I hold my camera. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

My father in her kitchen exuding discomfort; unable to be her true self in the
moment I hold my camera. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Exhausted after our evening out, she removes most of her make up - but forgets the necklace. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Exhausted after our evening out, she removes most of her make up – but forgets
the necklace. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Mother Father is also accompanied by a short film with the same title, in which my parents
talk retrospectively about their relationship. The book is currently in the Dundee Artists’
Book Collection in the VRC at Dundee Contemporary Arts and the film has been shown at
several film festivals this year including Aesthetica Short Film Festival and Underwire
Festival, gaining award nominations at both. The work will next be exhibited together at
the Royal Scottish Academy’s New Contemporaries Exhibition in March 2016.

At present, I am working on a short documentary about my own father-daughter
relationship with The Scottish Documentary Institute‘s Bridging The Gap programme,
which will premiere at Edinburgh International Film Festival in May 2016.

 

Lucie Rachel can be contacted via Twitter and via her website.

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Donnie Maclean’s ‘A Glasgow Kiss’

We caught up recently with Donnie MacLean, whose work we have featured previously, to see what he has been up to on the streets and we were pleased to hear that he’s just about to launch new work in a new photography show along with a book, ‘A Glasgow Kiss’. Below we share some of Donnie’s new work, and the details of the show and further events at the same gallery. – Jeremy Sutton-Hibbert.

 

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

 

Donnie tells us more, “During May 2015 Six Foot Gallery, in Glasgow, will be hosting it’s first ever Month of Photography! Presenting three shows across 4 weeks, SFG aims to bring together a showcase of work from a diverse range of practitioners from across Scotland.

1st // ‘4/4’ // The Forgotten Collective take on the dual roles of photographer and curator as they each invite one photographer to join the group and create 4/4 as part of Six Foot Gallery’s Photo Month. Designed to highlight the individual, but also to celebrate the wider photographic world “4/4’ seeks to understand how the natural comparisons and contrasts found within any group can influence the work of the individual and how the individual can change the face of the group. Forgotten Collective member Donald John MacLean will be launching his latest book of images “A Glasgow Kiss” during the opening of 4/4 on Friday 1st May.

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

 

11th // ‘A GLASS EXPANSE’ // A Glass Expanse brings together 10 female photographic graduates from across the discipline who have assembled to create a body of self portraiture work that explores their concerns and subject matter as practitioners and as women. The work aims to create an image of the ‘Female Landscape’ as it is viewed by their lens, an impression from source of what role gender plays in the narrative of these landscapes and the relevance of lense based media as the vehicle for these communications. Curated by Alice Gordon.

21st // SFG OPEN RESIDENCY //
The artist chosen in the SFG artist residency programme, supported by Street Level Photoworks & Menzies Hotels.

As well as this we also have some absolute gems lined up for an instagram takeover, the launch of ‪#‎EverydayGlasgow‬ and a very special Talk See Photography panel ‘Female Landscapes’, with Aileen Campbell, Gillian Gilbert, and TalkSee’s very own Nina Bacos.”

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

 

Donnie also has plans for a new book of his Glasgow street photography work,” A Glasgow Kiss”,  launching during the opening of 4/4 on Friday 1st May.

 

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Ratio7:1 Question Time

Earlier this week photographer Jeremy Sutton-Hibbert represented Document Scotland on a panel discussion held in Edinburgh on the topic of ‘Photography in Scotland’. Organised and hosted by Ratio 7:1 photography collective, a new collective of students of photography from Napier University, and held to coincide with their ‘Dismantle’ exhibition which is currently showing, the evening was deemed to be a huge success by all who took part and those attending as audience. Speakers on the discussion panel, ably chaired by Ratio 7:1’s John Dougan, were Malcolm Dickson of Street Level Photoworks, photographers David Eustace, Ron O’Donnell, & Jeremy Sutton-Hibbert, and Dr. Roberta McGrath of Napier University, Edinburgh. Lively debates emerged between audience and panel, stimulated by questions from the audience on subjects such as gender bias in photography, the history of Scottish photography, the future of photography in Scotland, and what is success and how do you achieve it? As ever there were no definitive answers, but lots of opinions offered giving much fuel for thought and further discussion.

Document Scotland would like to congratulate John Dougan and his Ratio 7:1 colleagues on their ‘Dismantle’ photography show, and for organising and hosting such a successful panel discussion event. To find out a little more about Ratio 7:1, why they hosted the discussion evening, etc, we asked John to tell us a bit of their plans. The below comes from John and shows a few images of the evening.

 

John Dougan of Ratio 7:1 introduces the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

John Dougan of Ratio 7:1 introduces the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

 

The audience at the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

The audience at the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

 

Malcolm Dickson (centre of image) of Street Level Photoworks answers a question at the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

Malcolm Dickson (centre of image) of Street Level Photoworks answers a question at the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

 

“Ratio 7:1 is a collective made up of seven year three students on the BA Photography programme at Edinburgh Napier University. John Dougan, Lysann Ehmann, Erin Semple, Adam Winship, Susan McFadzean, Denitsa Toshirova and Anete Atvare came together to form Ratio 7:1 as part of a course module that required students to form a group and hold an exhibition of their work. The outcome of this was Dismantle, an exhibition held at Gayfield Creative Spaces in Edinburgh between 20th-26th March 2015.

Since the start of the process, we aimed to put on an event that would be well received and memorable to the people who heard of us and passed through the doors, this is how Question Time came about. We wanted to put on a panel discussion set up by students for people who, like ourselves, were interested in gaining insight into what the landscape of Scottish photography is like and what it takes to become a player in the industry.

For us, the event was a huge success and the liveliness of the discussion was very inspiring. Hearing well respected individuals share fiery exchanges clearly showed an existing passion for photography. I know for sure that we, as well as many of our friends in the audience found the experience very motivating. What was particularly beneficial was getting the opportunity to hear people we perceive as successful speak openly about the relationship between their personal and professional lives. This was a great opportunity to build realistic expectations on what life will be like post university.

 

Photographer artist Ron O'Donnell (in blue) talks at the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

Photographer artist Ron O’Donnell (in blue) talks at the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

 

The audience at the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

The audience at the panel event. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

 

The panel! Left to right: Artist Ron O'Donnell, Street Level's Malcolm Dickson, Dr. Robert McGrath of Napier Univ., John Dougan of Ratio 7:1, and Photographers David Eustace and Jeremy Sutton-Hibbert. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

The panel! Left to right: Artist Ron O’Donnell, Street Level’s Malcolm Dickson, Dr. Roberta McGrath of Napier Univ., John Dougan of Ratio 7:1, and Photographers David Eustace and Jeremy Sutton-Hibbert. ©Jeremy Sutton-Hibbert 2015, all rights reserved.

 

After such a positive experience with Tuesday night’s discussion, I personally would love to explore the idea of hosting more panel discussions, perhaps hosting a weekend of talks in the future. I know that TalkSee Photography, who are based in Glasgow recently held a panel discussion with Malcolm Dickson of StreetLevel, Ben Harman of Stills and Amanda Catto of Creative Scotland on at the CCA in Glasgow which was well attended and offered good discussion points also. I wouldn’t be opposed to collaborating with the organisers at TalkSee to see what we can do to make sure debates continue to happen in both Glasgow and Edinburgh.

In regards to Ratio 7:1, after two long semesters we are taking a break to concentrate on other areas of our studies. This however does not mean that we won’t come back together in the future, it is just hard to say for sure at the moment. All seven of us will continue to make work and will hopefully have more opportunities to exhibit said works in the near future. You can keep up to date with all of our activity via our facebook page and out Twitter page.

I would also like to take this opportunity to thank Document Scotland and all of the participants for being a part of the discussion and supporting our exhibition and programme of events.” – John Dougan, Ratio7:1 photography collective.

 

John Dougan's work on display at the Ration 7:1 photography show, Edinburgh. ©John Dougan 2015, all rights reserved.

John Dougan’s work on display at the Ration 7:1 photography show, Edinburgh. ©John Dougan 2015, all rights reserved.

 

John Dougan's work on display at the Ration 7:1 photography show, Edinburgh. ©John Dougan 2015, all rights reserved.

John Dougan’s work on display at the Ration 7:1 photography show, Edinburgh. ©John Dougan 2015, all rights reserved.

 

 

 

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Picture Power, Radio4

It’s always been said that the members of Document Scotland have a great face for radio, so we took everyone at their word… We’re very pleased to announce that next week you’ll be able to hear our dulcet tones, our lovely Scottish accents on Radio 4.

Miles Warde of Radio 4 very nicely came along to the opening night of our ‘Common Ground’ show last August at Street Level Photoworks in Glasgow, and interviewed us about the photography we’d been doing all year in the run up to the show and the run up to the Sept 18th referendum on Scottish Independence. Miles has craftily woven comments and quotes together, from interviews with Sophie as she was out photographing on the streets, and then interviews with the rest of us at the gallery opening, and has produced a 15minute programme which will broadcast on Wednesday 4th February, at 13:45hrs, on BBC Radio4.

The programme is one in the Picture Power series, in which Miles talks to various photographers about how they covered the big news stories of 2014. All programmes will be worth a listen we are sure!

We’d be ever so grateful if you could tune it to listen and in advance help spread the word to anyone who may be interested. Thank you.  And of course, huge thanks to Miles Warde and the team at Picture Power!

Radio 4's Miles Warde speaks to Colin McPherson, at the Common ground photography exhibition at Street Level Photoworks,  in Glasgow, Scotland 28 August 2014

Radio 4’s Miles Warde speaks to Colin McPherson, at the Common ground photography exhibition at Street Level Photoworks, in Glasgow, Scotland, 28 August 2014

 

Common Ground photography exhibition at Street Level Photoworks,  in Glasgow, Scotland 28 August 2014

Common Ground photography exhibition at Street Level Photoworks, in Glasgow, Scotland
28 August 2014

 

Radio 4's Miles Warde speaks to Jeremy Sutton-Hibbert, at the Common Ground photography exhibition at Street Level Photoworks,  in Glasgow, Scotland 28 August 2014

Radio 4’s Miles Warde speaks to Jeremy Sutton-Hibbert, at the Common Ground photography exhibition at Street Level Photoworks, in Glasgow, Scotland, 28 August 2014

 

Neil-exhibition-streetlevel

Sophie’s project – Scottish Sweet Sixteen – features first time voters, like Neil pictured here. They can be heard in the programme seeing their portraits on the walls of Streetlevel Photoworks for the very first time.

 

Radio 4's Miles Warde speaks to Stephen McLaren and Colin McPherson, at the Common Ground photography exhibition at Street Level Photoworks,  in Glasgow, Scotland 28 August 2014

Radio 4’s Miles Warde speaks to Stephen McLaren and Colin McPherson, at the Common Ground photography exhibition at Street Level Photoworks, in Glasgow, Scotland, 28 August 2014

 

Document Scotland are...  Common Ground photography exhibition at Street Level Photoworks,  in Glasgow, Scotland 28 August 2014

Document Scotland are… Common Ground photography exhibition at Street Level Photoworks, in Glasgow, Scotland
28 August 2014

 

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