These are the photographers that were suggested to me by Steph and Anna after our introduction session in Amsterdam.
I had seen Jill Greenberg’s photographs everywhere, from celebrity portraits and album covers to film posters, but was never aware of the photographer. Her images are very colourful, even slightly oversaturated and overall have a commercial feel.
Manfred Willmann, Untitled, from the series Das Land (1981 – 1993), 1992
'Every age knows the limits of what can be said. To reach the limits of what can be said, one must intend to do it.' - Manfred Willmann
Manfred Willmann appropriates the methods and forms of documentary photography to create visually vivid and conceptual work. This work relates closely to my practice through the medium, but also through the subject matter. His images, even though highly conceptual, evoke a certain sense of the place and appear peculiarly familiar.
Alec Soth, from the series Broken Manual (2006-2010), 2008
'To me the most beautiful thing is vulnerability' – Alec Soth
Alec Soth is one of my favourite photographers. I saw Soth’s woth at the Gathered Leaves exhibition in Bradford (2016). Particularly I love his Broken Manuals work where he was investigating places that people choose to retreat to escape the civilization. Somewhere to Disappear (2010), a documentary based on the Broken Manuals project is extraordinary and I found it very moving and poetic. In my own practice I am really interested in the idea of retreating from society and becoming a recluse, I used this longing for solitude as an inspiration for my off-grid Outlandia residency in the wooded hillside of Scotland.
Justine Kurland, Buses on the Farm, 2003
I was pleasantly surprised to see Justine Kurland on my suggested references list as in the past I have struggled to find people who knew her work. Her images are slightly surreal, almost like dreamscapes of people in the landscape. Aesthetically I find her work very beautiful, atmospheric and nostalgic and I have drawn a lot of inspiration from it in the past.
Sally Mann, Vinland, 1992, from the collection Immediate Family
I fell in love with Sally Mann before I had an in-depth understanding of photography. At that time I could not understand why people were upset about her work in Immediate Family (1992). Of course, these are highly tensious images. From this work I gained a lot of understanding about the ethics and issues surrounding photography. By the time I started photographing children myself, I had an awareness of the contentiousness of the subject matter as well of my role as a photographer.
Katy Grannan adopted strategy of placing adverts in local papers to find her models.
‘It is important for me that I photograph people I don’t really know. (..) Of course, at their most basic level, they represent the desire to be seen and to be paid attention to. But, ultimately, their desire to be seen and my desire to photograph them are the ingredients for something larger. The portrait that remains represents neither accurately. Our intentions, whatever they were, are recorded and warped and reinvented into something entirely unique.'
Laura Pannack, from the series Youth Without Age and Life Without Death
I attended Laura's talk in Manchester earlier this year and saw her work at Francesca Maffeo Gallery in January. I feel that Laura's work relates the most to my Turning of the Sun project both, through the use of colour medium format film and the subject matter. I find her work very inspirational, especially the way in which she connects with her sitters. I have only ever achieved that level of trust when photographing my family members.
Michal Chelbin also uses colour medium format film and her work conveys a familiar notions of nostalgia, particularly in the photographs she made in Ukraine.