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Artist Questionnaire: Sophie Gerrard IG

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Artist Questionnaire: Sophie Gerrard IG Artist Questionnaire: Sophie Gerrard IG: Which artists/photographers do you particularly respect? I’m constantly finding new projects and photographers and artists and painters and books which inspire me and which I respect. Some long standing favourites have been Joel Sternfeld, Pieter Hugo, Edward Burtynski, Tim Hetherington and Richard Misrach. I’m also influenced by painters, particularly Lucian Freud, and some of the Dutch landscape painters. IG: Why do you choose photography as your artistic medium? I believe quite passionately in the power of photography to communicate important stories and information visually. Photography can be used as a powerful tool and has an almost unique ability to act as a universal language. I began my career in environmental sciences, after travelling in SE Asia and becoming aware of the work of important photojournalists like Don McCullin, I turned to photography in order to combine my passion for visual arts and creativity with the ability to communicate important environmental stories. I saw, and still see, photography as a tool that allows me to do that. For me, the stories I tell are nearly always about the people. Environmental issues are my passion, but it’s the people behind these stories and in this case, these landscapes, who I am interested it. Photography gives me a wonderful excuse to explore, to meet people, to learn and to look closely, to dig under the surface in order to find what’s underneath, and that is an important process for me. Long term documentary projects give me the opportunity to spend time with people, know them and learn their stories. Often by seeking out the small and individual stories, I can make projects and bodies of work which speak of larger issues. IG: Why did you choose to do this project? What was the trigger? I began this project as a way of exploring my own relationship with the Scottish landscape. Having worked and lived away from Scotland for the majority of my photographic career I felt it was time to work on something closer to my heart and my home. I wanted to understand the connection I, like many Scots, have with the Scottish landscape. I wanted to scratch the surface, go beyond the romantic picture postcard view and learn about the land through the eyes of those who are responsible for it. I then realised that in so many cases that view is presents as a male one - I was curious to see it from a female perspective and so I began my research. I wanted to look at this relationship through the eyes of those who live with it every day and who's lives and livelihoods depend on the land - those who are responsible for it, and naturally I found myself drawn to the women who make decisions. Although through walking and being a keen hill walker I consider myself to have more knowledge than some, I appreciate that with no farming background and having lived in cities all my life there is still a huge amount of this very visible and accessible Scottish landscape on my doorstep that I know little about. I started to look to the women who look after it to show me their stories. I am fascinated by the people I have met during this project over the last year and a half and the wonderful stories they have told me. I feel a connection to them, I am enjoying the stories I hear. I have been overwhelmed by their generosity and their welcome. I admire their attitudes and their strength, I have a huge respect for what they do and they way they do it. I've met some very diverse individuals and every situation is so very different. What they do have in common is a passion, a desire and a pull towards the land. Many of them have talked of something in the blood. It's been a fascinating and tiring, enjoyable, exciting, cold, dirty and very emotional journey so far. IG: What are your main influences and how have they influenced your work? When starting this project I looked through many books by the photographers and artists I mentioned in my first answer. I also looked closely at contemporary photographers I admire who combine powerful landscape photography with portraiture. Vanessa Winship, Bryan Schutmaat, Rob Hornstra. But after a while it’s about me, my relationships with the women I photographed, my relationship with the landscape and my time working on this project. My working process was to go away for periods of time and spend concentrated and intense days working and living with my subjects and photographing them. Then returning home, digesting the experiences, the conversations and reflecting on what was there. It was important to me to record their conversations and to have a record of their thoughts as I went. Those interviews became important and influenced the project as time went on. Their passion, commitment and resilience became my focus as I walked around and photographed them. The editing process was also important, talking the work through with colleagues, trusted friends and Anne McNeil helped the project form and evolve. IG: Some of our visitors will be interested in the technical aspects of your project. What equipment did you use? And did it affect the way that you worked and the project outcome? I shoot most of my personal work on medium format film, and natural light. This was a 6x6 twin lens camera which I’ve used on many projects over the last 8 years. The camera has a waist level viewfinder, which I look down into, and a ground glass screen which flips the image. I use a hand held light meter and sometimes a tripod. The most significant aspect of working this way is that it’s relatively slow. The pace of working is dictated by the camera and that slowness and deliberate way of shooting is, for me, my preferred way of working. Everything slows down, the thinking process, measuring the light, composing, breathing, everything. In terms of having an effect on the work, I feel the portraits I produce when working in this way are very different than to working with other formats. The slowness, the intimacy and the discreet nature of the camera helps create something special. There is no need to put the camera between my eyes or face and my subject. Perhaps that’s part of it, or the fact that I am looking down into the viewfinder rather than straight towards them. It’s been when using this camera and working in this way that I find people become at ease and I have created some of my favourite portraits. IG: What plans do you have for future projects? I am continuing to shoot Drawn To The Land, there are further activities I want to capture in the farming calendar and also other women farmers, living and farming further north in Scotland and on more of the islands. I’m also working on another on-going project, loosely called Homecoming, which comprises several sub projects and chapters. Broadly speaking, the project forms something of a visual diary of me returning to live and work in Scotland over the last few years. As we move towards the Referendum this September, I’m making a body of work about adolescents of voting age, I’m interested in their thoughts and views, many of them feel under represented in the media and it’s a fascinating process talking to them and photographing them. Document Scotland have an exhibition at Street Level Photoworks in Glasgow and a publication featuring this work which is called Sweet Sixteen being launched later this summer. Multimedia work by Document Scotland will be included in Photography Oxford Festival 2014 in September this year. I was recently commissioned by FotoDocument and Brighton Photoworks as part of Brighton Photo Biennial 2014 to produce a body of work centred around environmental sustainability in and around Brighton. I’ve been working on that over the last few months and it will culminate in a major exhibition in Brighton later this year as part of the Biennial. IG: Do you have any recommended reading to further contextualise the project? For further information on both me and the Brighton commission please go to this link where you will find a press release and information on each of the commissioned photographers. http://photoworks.org.uk/projects/commissions-one- planet-living/ I am represented by The Photographers’ Gallery in London, my page on their website is here - http://thephotographersgallery.org.uk/sophiegerrard A portfolio from The Dunes, a body of work about environmental destruction of protected land and the bullying of a community in Scotland was featured in Photomonitor with words by Diane Smyth, deputy picture editor of The British Journal of Photography – see more here http://www.photomonitor.co.uk/2012/10/sophie-gerrard/ I recently took part in a “Twinterview” with Genesis, a pro lab in London who did a feature on my work, read the interview here http://www.genesisimaging.co.uk/blog/tag/sophie-gerrard/ My work was on show at The Photographers’ Gallery recently to launch the new publication by Slideluck called Hungry Still. Curated by Louise Clements and exhibited at Format Festival in Derby, more info here http://slideluck.com/hungry- still/ Artist Questionnaire: Stephen McLaren IG: Which artists/photographers do you particularly respect? Trent Parke, Jens Olof Lasthein, Alec Soth, Carolyn Drake, Jim Goldberg, Susan Meiselas, Lee Friedlander IG: Why do you choose photography as your artistic medium? It is the only medium I can build into my everyday life.
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