Sunday, 27 November 2016

Burn the Witch

During the shoot development of images with Tina, a retired lorry driver from Basildon, Essex, we went for a brief walk around her area. Tina was fully dressed in a dramatic red sparkling number and red heals. I am always impressed by the courage of anyone to be themselves, I think my empathy relates to my own memory of the painful process of extricating myself from my hetero-normative cocoon as a young gay man.

The ‘trans’ experience is similar but not the same, gayness cannot always be seen, so there is some relief from the relentless undefinable attention. There is always a fear, after one’s first queer bashing, that the next hurtful experience might be round the corner, especially if you cannot escape the visual representation of who you are. We all should take responsibility for the effect of any unwanted attention on our fellow humans even if our motives are decent, it is hard not to be distracted by a shiny object in all this mundanity.  The emotional response to negative, unwanted attention affects us in different ways, some of us withdraw into isolation and depression, others find the strength to be ourselves and magnify our personas further as a polite fuck you to society; there are many responses to the journey towards self-realisation.

Although we live in a relatively free thinking society where we can ‘be’ and behave however we choose, there are still invisible forces externally and internally to be defeated and I think anyone that does not rely too much on the scaffolding of cultural representation to define themselves should be celebrated as an inspiration for us all.

So ‘coming out’ in the area we live, when anger and frustration at society can easily be mis-directed towards difference, is not without its dangers. In showing ourselves we can risk exposure to forces that seek to hurt us. Children very often have a cruel existence, the playground is a place where brutal behavior can be normalized and because they are children they may not be aware of the hurt they are inflicting, as adults we have a responsibility to attempt some awareness of how our behavior might affect another human being.

These pictures show Tina walking me towards the scene of the Guy Fawkes night bonfire where the flames were fed by the children of the area, pulling up the fence around her property. No one else’s fences were touched. I am shocked by this act of passive violence, a threat to individualism and to Tina personally. She mentions it so casually, there is no sense of stress or bitterness in her voice and she is matter of fact about the experience. I can only presume that perhaps this is normal for her, which adds to my feeling of anger and sadness.

I ask that we think for a moment how this might feel, to know that there are people who harbor hateful feelings and threatening behaviors that know where we live or will not hesitate to abuse us. How might this affect our personality, our confidence and our ability to function in society? These images are a record of the result of prejudice that leaks down from the seemingly innocuous dog whistles, politically incorrect humor and insults that casually demean and de-humanise, the results of which are very often impossible to define.

I see these pictures of Tina as a Phoenix rising from the ashes, her courage is an inspiration to many new ‘T-girls’ too afraid to step out of the shadows. She supports and allows many people to stay at her house. There is so much amazing work going on in the support of other people that goes unrecognized by medals and awards, this is the truly normal human condition, so much kindness and support offered with no expectation of reward, it is everywhere.


Tina on Burnt Ground (_7285) © Richard Ansett 2016

Tina on Burnt Ground (_7287) © Richard Ansett 2016

Tina on Burnt Ground (_7294) © Richard Ansett 2016

Sunday, 20 November 2016

A Mosquito Trapped in Amber

I am aware of the increasingly high production values of both film and television drama and even some reality shows. Many films and television programs now have incorporated incredibly high standards of photography, beautiful light and composition that envelop and support their narrative. This work is equal to the abundance of aesthetically beautiful but ultimately shallow still photography that floods the market presented as fine art photography. It would be fair to say that perhaps there is some element of chicken and the egg going on here, in so far as it is the still image that has inspired film to raise its game incorporating classic and contemporary photographic themes. This is exciting, we can see our work and ideas seeping into the zeitgeist, becoming part of a standardized repertoire to reflect modern life but I feel that many still images defined as fine art now feel like nothing more than a still frame lifted from somewhere else.

So, the challenge now and initial arbiter of quality for any photograph, is whether it is capable of elevating the technical aesthetic to a level that can only be explored by the still image. What defines a great photograph above and beyond a transferable aesthetic to the moving image?

First and foremost there must be an acknowledgement within the work itself that there is a reason for interrupting the timeline, for cutting into the inevitable flow and observing the content 'In stasus''. As a portraitist I am particularly interested in the complexity of emotion expressed by the human face, the 1000s of barely observable muscle movements that betray our emotional state, only fleeting and overlapping in film, barely registered as part of a complex narrative. With the still image there is a frozen moment that can be scrutinised outside of the normative timeline. We can hold an emotion and not let go of it like a mosquito trapped in amber.


I have never found that two dimensional beauty is enough, both in people and art, it is fleeting, seductive and disarming, I want to possess it definitely but once I have consumed it I tire of it quickly, I find myself only seeing the flaws. Beauty is a successful mask that hides that which is most interesting in us; it is more often an instrument of deception than an arbiter of knowledge or truth. Beyond this shiney surface is a seam of complexity that transcends conventional time. Normative beauty has become (and perhaps has always been) part of our medication to assist in our survival as we engage with the complexities of our present, it is the art equivalent of Prozac and many images commercially fulfill this transient criteria, as amyl nitrate hits my brain and floods me with pleasure for a few seconds, so does much work we are exposed to everyday satiate our desire as we drive past a poster or flick through a magazine but it fades quickly and leaves me with a headache only cured by the consumption of more of the same. Further I find myself seeking the flaws in anything presented as perfection hence I cannot spend too long with that which is presented as close to it, the longer I am with it the sooner I become bored, then angered and finally threatened by it as I fail to compete on an existential level with the message of purity. So what elevates an image from the morass of perfectly lovely but ultimately shallow beauty to one of lasting value?

The inclusion of the immediate historic narrative within the image, the cars, clothes, technology, anything which is present in the landscape that is representative of the era within which we are passing through, deliberately or incidentally, is an essential element in increasing an images chances of future value, this may include elements that in the present moment might feel unattractive, especially to the nostalgist; a MacDonalds sign, a rubbish bin, a Toyota Prius. Included in this is the technical make up of the production of the work itself, the very nature of the image can indicate the era of its creation. The addiction to nostalgia as a prop to elevate work in the moment in the pursuit of the transient 'hit' from our audience is my main gripe; we are sacrificing our works' long term value reducing it ultimately to the fish and chip paper of history. I see few reasons to create a photograph that merely replicates an era of photography long dead and this has been my argument against the use of analogue film techniques in my article 'FILM IS DEAD' for Hunger magazine. There are some exceptions that play off these ideas by juxtaposing contemporary content with nostalgic processes but mostly I immediately disregard all works that do not negotiate in some way with the present. 

The path of least resistance is not the solution to great work or work with any sense of legacy, mostly we must explore and celebrate the present and if we find the present to be a place we do not want to explore or that we do not find attractive, we should examine why that is within ourselves but ultimately we should be vigilant to the unique powers of the defining moment, the value of suspending emotion and action in time, creating an immediate history.