Bristol Photo Fest Study Visit round-up
The Bristol Festival of Photography has gone from strength to strength over the several years since it was established. “Will it be worth dragging students from all over the country for a study visit?” we asked ourselves this year, and judging by the response from last week’s trip, the answer is hopefully a resounding “yes”.
For a variety of reasons, the visit came quite late in the festival (actually on the last day), and the organisers, keen to cram-in as much as possible during May, had venues host shows consecutively. This was the case with the first venue we visited, a relatively temporary private gallery in a shop that is in a current state of limbo, slap bang in the middle of Bristol’s newest retail quarter. The Philadelphia Street Gallery hosted probably the festival’s two biggest names; Zed Nelson a couple of weeks earlier, and the show that we saw was by documentary/reportage practitioner, Paolo Woods. His series Radio Days looks at the humble FM radio which is an integral part of how relatively disparate communities stay in touch across Haiti. Woods’s series comprises of about a dozen shots of broadcasters, working out of “studios” of varying sophistication. The fixed distance between camera and broadcasters was a strategy that Woods obviously found communicated the diversity of the people who fill the radio waves. Adjacent to these were several portraits of some of the people on the other end. These provided a certain point of discussion, not least as the heads of all of these listeners were excluded from the frame. For some, this absence of the real individual within the photograph was problematic, but as somebody pointed out, without the distraction of the face of the person in the frame, you are forced to scrutinise the photograph for other signs that might provide information about that individual. A scrap of string used to hold one radio together remains with me, which communicates something about the value of this obviously crucial medium.
Discussing Paolo Wood’s show. Photo: Amano Samarpan
Next we strolled over to Bedminster to the Grant Bradley gallery to view the work of the finalists of the festival’s RGB Awards. Despite there being several distinct categories for which images and series were rewarded, there seemed to be a consensus that the competition would benefit from something of a theme to create a show with some more conceptual cohesion. Nevertheless, there was plenty of work to provoke discussion, not least the decision to award the landscape prize to Paola Leonardi’s wonky, dilapidated hut from her series Undrawn Hours. Some saw beauty in the banality of the subject, and others, just the banal! Either way, the diversity of responses to the photograph was great to hear, and underscores how important it is to be able to listen to the impressions of peers. (See Leonardi’s landscapes in context on her website, which is very much a typology of this austere landscape [wherever it is – I can’t seem to find the location!].)
Nige Ollis’s Anatomy of a Stroke, a piece of work recording with quite abstract imagery and text, his father’s stroke, was a difficult to piece of work to consume, but which certainly proposed an ethical dilemma; in this case, whether it is acceptable to make such a piece of work so immediately after the traumatic experience of someone so close to the photographer. See Ollis’s blog here.
In a different way, the relationship between image and text was a point of discussion around Colin Powell’s 12×12: Genius Loci: An intelligent title, but one attributed to landscapes that were nice to look at, but ultimately unchallenging, and with tacky titles for each image that in no way complemented the sensuous monochrome Somerset landscapes: At best these titles simply anchored the message (even at a couple of times, mundanely describing the composition) of the image, and at worst, patronised the viewer by directing a particular (unchallenging) reading.
A brief diversion was made to the Arnolfini to see Superpower: Africa in Science-Fiction – which was not part of the festival but which seemed worth a visit. Whilst I quite liked some of the works there (notably Kiluanji Kia Henda’s Icarus 13, a mockumentary about an Angolan space mission to the Sun) the rest of the group didn’t seem to get much out of it. Without risking legal action against myself of the college, all I will say is that this was not the first time I have felt personally embarrassed taking people to see work there. Sorry for that!
Discussing Alex Rota’s work. Photo: Amano Samarpan
We went to Photographique (the shop and studio that is mostly to thank for putting on the festival) to see Philip Searle’ Island but this was polarised by the discussion we had about Alex Rotas’s work on older people who are competing in veteran athletic championships. Although we all seemed to believe in the value of this work, which foremost questioned our stereotypes of aging, we discussed important issues such as context (surely the place for this is in an editorial, not gallery exhibition?), presentation (the traditional framing, with all prints, mounts and framed the same size, more befitting a decorative collection of images) and importantly, basic technique – notably framing and composition. Rotas certainly has some strong images but a tighter conceptual approach needs to be considered.
Finally we went to see Rachel Sokal’s installation Living Echo, which has lived up to its title and created resonance with all of us, I’m sure. Sokal has developed her own cameraless, entirely organic printing process, which exploits the chlorophyll pigments in leaves to create a visible – if relatively temporary – image. In order to make the leaf prints last the duration of the festival, they were protected from daylight with material that had to be lifted up to reveal the object, which created a tactile and intimate experience for the viewer. The bright, airy Victorian space was also furnished with plants, adding further depth to the installation. Although this work is a pertinent reminder that Photography doesn’t only exist within the economic confines of German and Japanese optics, mass produced digital cameras, and heaven-forbid, photographic film, Sokal’s process is far from a novelty, and she has used it to communicate pertinent messages about environmental concerns, and as an educational tool.
Rachel Sokal’s work. Photo: Jose Navarro
Rachel Sokal’s work. Photo: Jose Navarro
Sokal was at hand to explain a little about the process and her motivations and was very pleased to see we’d made the effort to visit her installation and the festival. Thanks to everyone who made it over to Bristol. I’m sure we’ll be back…
21 thoughts on “Bristol Photo Fest Study Visit round-up”
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Can’t get away from the feeling of being jealous… Another study day which seems to have really elicited discussions around so many aspects like subject matter, the photographer, the concept behind work, the audience, and very importantly, presentation.
A really interesting read…
Enjoyable to read and Rachel Soka’s work looks interesting.
You seem to suggest that concerns about ageing are fundamentally different to concerns about the environment, the first to be confined to editorial only, the second entirely appropriate in a gallery situation, providing pertinent commentary and creating resonance in viewers. Perhaps the choices made in framing are intended to mirror the attitude of viewers on the topic of ageing- homogenised one size fits all and nothing to learn or question or resonate to here.
Interesting interpretation of the photographer’s choice of framing – to reflect an attitude on ageing. I don’t personally believe that was their intention. In terms of what is or what is less appropriate in a gallery context, as far as I am concerned, no subject matter belongs exclusively with either. This feeling (which was more or less the consensus of the group) was based on the style of the photos and certainly not the subject matter.
I agree with Jesse. We thought that the photographer’s approach and style was essentially editorial. However, the subject matter doesn’t exclusively belong to editorial as Jesse pointed out. In my opinion, a more formal approach, perhaps done with medium format and impromptu studio setups at the games stadium would have worked better.
Seems like a missed opportunity – I wish I had known about it.
Sam
You need to get the OCA weekly ebulletin which will let you know about these events well beforehand.
Cheers
Ammano
One of the moments of the day for me was from the RGB exhibition, discussing a photograph of the Mennonites; this image was of a group of children standing in an orderly line alongside a table. They all looked a bit serious and Jose suggested that the photographer had manipulated the situation. Since OCA days are largely about discussion I put forward another viewpoint that the ordered composition rather reflected the ordered life of the Mennonite people.
As it happens, I have Larry Towell’s book about the Mennonites and decided to look through it again. Near the beginning there is a photograph like the one we saw at the exhibition but it is much more engaging, lacking the stiff formality normally associated with the Mennonites. The children sit around a table and all have different expressions, mostly natural, while their parents stand behind. There is a feeling of intimacy and yet there still must have been some preparation for this photograph.
I used to ponder the dichotomy between art and photography which is rather academic. Nowadays, I find myself more likely to be considering the differences between modernism and post-modernism and that most published work is going to be modernist perhaps because to the public, post modernist work is likely to look sloppy. Does one photograph what might be expected (the Mennonite standing obediently in a row) or something more life-like (Mennonite children sitting around a table, some not interested in the camera)? I guess the answer to this would depend on one’s perceived audience.
Thanks to Jose and Jesse for another memorable OCA day.
Yes, I wondered if the situation had been manipulated, as in the photographer having instructed the children to line up behind the table. The question is…does it matter? The photographer created something which wasn’t there in the first place – the photograph itself. Creation is a process of manipulation to the service of the creator, in this case the photographer. The point is that the resulting image still conveys a message that hasn’t lost a connection with the referent, the children and the Mennonites themselves. And that, in my opinion, is essentially positive.
But the scene seems to have been, strictly speaking, manipulated.
To me the highlight of the day was Rachel Sokals work and especially with her in attendance to give a live input to what she’s achieved. I think it was the perfect venue to round of what was a very stimulating day where the group was small enough to be intimate but large enough to get good discussion.
For me too. It was a beautiful display. The fragile leaf-prints are a metaphor for the fragility – and beauty – of life. There were leaf-prints that had connotations of death – e.g. rib cages or skulls. Sokal’s work speaks of the ephemeral nature of life itself. Her work truly resonated with me.
I wandered absentmindedly into my, currently quite sleepy [still effectively under construction], WordPress blog this evening, and was surprised to find a sudden rush of hits. Fortunately, thanks to the site’s excellent stats feedback I was able to trace the referrals back here.
It’s interesting to see that my photography provoked some discussion regarding the potential ethical dilemmas. [I’d liked to have been a fly-on-the-wall!] If I may, I would like to take an opportunity to fill in a few of those gaps, given that those dilemmas were very much in evidence for me, too…
Firstly, should people be interested, I’d like to refer them to the full blog/series on this ‘work’ – which only went up publicly in this form to coincide with the RGB Awards: http://anatomyofastroke.tumblr.com/
The affects of my father’s stroke are still ongoing. But, as stated on my blog, I began the document for various reasons: for my own emotional release and peace of mind; as a record of progress in the challenge that undoubtedly lay ahead, for him; as an education for others; and for what I ultimately truly hoped would be an uplifting journey to recovery. Clearly, I had no idea where the future lay when I started recording this real-time story, but as someone who has kept diaries and journals for 30+ years, I’ve grown to appreciate their cathartic nature. [My wife was also very unwell when the ‘need’ arose for an outlet.] I also asked his permission from the onset, too.
Moving on in time, and while this ‘story’ initially had a relatively small audience [of mostly friends/support network], my father began to make a quite extraordinary recovery. So, when it came to the RGB Awards I felt quite strongly about presenting this ‘work’. Visitors to the link in your review will also see that all the images were submitted with my father’s blessing. [I did actually submit 4 images for selection as a ‘set’, but two were, somewhat mysteriously, dropped – had all four been exhibited I feel the overall arc of the story would’ve been better represented. Although, the ethical dilemmas surrounding the two images selected may not have created such discussion had that occurred[?]
But thanks for highlighting my work and allowing me to appreciate some of the thoughts that its presentation had generated.
Thanks for responding, Nige. I’m sure your points will add important detail to the story behind your work. One of the frustrating things we found was the limited amount of information at the show about both the work and their creators, and also in some instances, particular methods and approaches. So thanks again.
You’re welcome, Jessie. And just to say, if anyone would like me to answer any direct questions in here, I’d be more than happy to do so.
{Bangs head on desk} More haste less speed!
Ahem. And Jessie, if you could ask Jesse, that would be great.
Apologies!
I shall apologise in advance for what is going to be quite a long post. First of all, this was a very enjoyable study day, with a real variety throughout and some good discussion. Many thanks to Jesse and Jose for the tutor input, and also to the other students.
Polo Woods ‘Radio Days’ was a great place to start the visit, and Rachel Sokals unusual and beautiful work a perfect finale (especially after a somewhat confusing time at the Arnolfini!)
The RGB Awards show did seem a little disjointed, possibly because it had such a variety of images. Having said that it was the discussions here that have made me think the most. It also drew my interest to some of the pieces enough to do some additional research.
Nige’
Sorry – posted before finished and checked do to my argument with spellcheckers trying to make me write Nigel! I shall continue….
Nige’ Ollis’s work is something I have thought a lot about this week – and I am one of those responsible for the rush of hits to his blog via the link in Jesse’s post – so I was really pleased to see him come over here and join the discussion. It has sparked many thoughts for me about in what situations it is ok to make a photographic project? How might this differ according to culture / time? Where would my personal boundaries be? Did I find the image of Day 2 difficult because I was drawn to its beauty, and perhaps this made me feel uncomfortable due to the difficult situation it portrayed.
In terms of the motivation of the photographer I now wonder whether for someone who is used to being behind a camera it becomes a useful tool in this kind of situation – something to hide behind, and distance oneself from a situation making it less real? I am not just thinking about this specific piece here but also other works that might involve those close to the artist in difficult / painful circumstance.
I have found ‘Anatomy of a Stroke’ a very moving piece of work. Nige’ I wish your father all the best with his continued recovery.
I won’t go on much longer here, but on the subject of Paola Leonardi’s hut, the location is the remote area of Skagastrond, Northern Iceland. The whole series is interesting, but for me, such a large series makes the single image lose some of its mystery.
As I have recently signed on to the People and Place course, this was an ideal study visit for me, and great that it was relatively local. It’s given me loads to think about – and I am a big ‘thinker’ – now better get on with a bit more coursework too …
Teresa
Hi Teresa. “Did I find the image of Day 2 difficult because I was drawn to its beauty, and perhaps this made me feel uncomfortable due to the difficult situation it portrayed.” Interesting emotional dichotomy. That image is definitely one [amidst the entire series] which seemed to possess the strongest impact – I was subsequently told by one of the judging panel, who were all sat working their way through 1,100+ images on a screen, that it virtually stopped them in their tracks.
In terms of photographer motivation, I would think that has potential myriad responses, though – even within a genre like this. [e.g. My very good friend Kirsty’s response to her mother’s tragic death: http://www.kirstymitchellphotography.com/gallery.php?album=5 I very much recommend checking this out. More than 3 years in the making – still not finished – but things have gone berserk for her this past month; culminating in a BBC interview last week!] But I digress, personally… “something to hide behind, and distance oneself from a situation making it less real?” For me, I don’t really consider the camera to be something to hide behind – although I’m naturally more the quiet observer, camera in hand. But I feel it’s more of a natural extension of my character and personality. [Which is notably much ‘lighter’ than this series might suggest!] And, in producing this particular series, it also certainly didn’t make it feel any less real to me – if anything, after visiting my father in hospital every day [with and without camera], to have the images at hand, too, often made it feel all too painfully real.
Thank you for your response. In terms f the comments on motivation I do hope I didn’t cause offence by this – I think I was probably placing my own personality into the equation.
Kirsty Mitchell’s work looks really interesting – I have had a quick visit and will definitely return when I have the time to fully digest it.
Thanks again, Teresa
Gosh [uh, as it were], no! I just re-read my reply and can see why you might have thought that, Teresa. But absolutely not, no offence was taken. : )