Tag Archives: art

Suicide Machine – an interview with Dan Wood

 

Suicide Machine – Living in the Town with No Hope?

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
McDonald’s, 2014 (Hear Dan Wood talk about making this image here)

The work of Dan Wood is probably not what you might expect from the stereotypical assumption based on the title of his project. Don’t judge a book by its cover. The title stems from a regionally publicized statistic that Bridgend, Wales was experiencing a high rate of suicides in the early 2000s. Wood’s decision in 2013 to document his hometown of Bridgend was different from the skate culture he had been photographing earlier in his photo career. He started to see his town through a different sort of lens; that of a husband, father, and ultimately as a person coming to terms with the love-hate relationship many people have with the place where they grew up. Through his photos, Wood is asking the big question of ‘What does my community mean to me, what impact does it have on myself, my family, and my own child?’

“The simple truth is that you can understand a town. You can know and love and hate it. You can blame it, resent it, and nothing changes. In the end, you’re just another part of it.” ― Brenna Yovanoff from ‘The Replacement’

The resulting landscape of Wood’s beautiful, somewhat melancholy images depict a place where the social fabric is woven with views of a community persevering in the current economic downturn, and people working hard to make a living. One has to wonder if Bridgend’s residents are also coming to terms with the question of whether it is better to tough it out despite the odds, or seek out greener pastures elsewhere. ‘What should we do?’ is a tough question to answer unless it’s done in hindsight. But by then, it may be too late, or the confirmation so desperately desired at the onset feels hollow.
The wait is a bittersweet limbo.

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Plastic Flower, 2012

Q & A

Cary Benbow: What is the idea behind your Suicide Machine series?

Dan Wood: It all started with my audition of an old Hasselblad 500cm. From somewhere I had the epiphany that I’d make a project about my hometown; and in colour.
Originally the project was going to be skateboard culture related, with long exposure night shots of the street spots that the local skaters frequent. The title, ‘Suicide Machine’ was there from the beginning, and when thinking more about the project I realised that I’d already covered the skate scene in enough depth already. The idea was then stored at the back of my mind whilst I worked on another series. Then my wife became pregnant with our first child and something clicked in my brain which made me start to think very differently about things – mainly being, shall we bring up our daughter here or shall we move away – probably overseas. So I started forming a synopsis (which has evolved somewhat) and photographing different parts of the town and also shooting some portraits. It felt so refreshing and new to be using the Hasselblad and colour film, but I was also contemplating our own destiny at the same time – should we stay or go? – this is what the project is ultimately about.

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Windmill, 2013

 

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Caroline Street, 6:55 am, 2014

CB: How long have you been working on Suicide Machine, and are you still adding images to it? Why did you decide to shoot color for this project? What has been the reaction to it from people from that area?

DW: I’ve been working on the project for 3 years and I shot the last roll of film for the series last week. It’s time to move on to something new – which I’ve already started.
The work has been exhibited at three venues in the last year: Including Bridgend itself – thankfully the reaction was nothing but positive. I did receive some challenging remarks on Twitter about the title suggesting I was being ‘insensitive and glamourising suicide’. Their attacks and attempts to drag me into an argument were totally ignorant as it was obvious that they hadn’t ever read the synopsis, only the title, which I refused to change.
Colour was fundamental to the project, I just knew it had to be in colour. After shooting black and white exclusively for 10 years and had become incredibly bored with it the time felt right to switch and conveniently coincided with the start of a new project. I still enjoy making black and white prints in the darkroom every now and again.

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Empty Warehouse, 2014

CB: Do you feel the increasing expansion and widespread use/display of images through social media outlets like Instagram has watered down the impact that medium format photography has/used to have?

DW: Definitely. The majority of people view pictures on their phones these days, so for instance, if you’re posting medium format photos on instagram they’re basically looking at a version of the photo that’s smaller than the actual negative, so the impact is undeniably affected and can’t be fully appreciated.

Medium format photography seems very popular once again, which is fantastic, considering the fact that film/development, etc. is expensive.

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Fortified House, 2013

 

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Jade, 2014

 

Jade 2015_1280
Jade, 2015

CB: In your opinion, what makes a good photograph?

DW: For me personally, a good photograph should ask questions and/or tell a story – aesthetics/intelligent composition has to be in there too. I have an eclectic taste when it comes to photography, I love raw/gritty right through to fine art/minimalistic. It’s all subjective of course, and everyone is entitled to like whatever they want.

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Shipping Container, 2013

CB: What/who are your photography inspirations – and why?

DW: I find that just being outdoors is great inspiration. I like to shoot street and road trip photography, too, when taking breaks from projects. My main source of inspiration comes from photo books, and I’m completely addicted to collecting them – it’s becoming a pleasant problem. Visiting photo exhibitions is something I find enriching and really enjoyable, too.
I truly admire photographers that can make the mundane, interesting – it’s just so clever. That kind of gift can open up a whole new world, and i’ve been fascinated with unlocking it for a long time. Some of the photographers whose work I admire would be: Trent Parke, Stacy Kranitz, Alec Soth, Joel Sternfeld and Todd Hido.

CB: Do you see your work being stylistically similar and making a statement in a similar fashion as those whom you call your influences? What is your intent for the viewer?

DW: There’s no doubt that there is some influence in my work from these photographers, after all, they have a lot to do with what drives me. I don’t want to seem like I’m imitating them, as I take great pride in the fact that I have developed my own style and approach over the years.

To me, these photographers are ‘real life’ photographers (in the broadest sense) – they tell stories about real life, and they all have their own styles and methods in which they do it. That’s all I’m interested in when it comes to photography, it is real life and real people, that’s what I want the viewer to understand.

CB: What do you feel are the obligations of a documentary photographer?

DW: The obligations would definitely include Honesty, sensitivity and non-exploitative. I see some styles of street photography these days that I find really intrusive and/or crudely voyeuristic. There are unwritten rules to Documentary photography and a certain etiquette to follow. Most successful documentary photographers adhere to the etiquette, and I like to see that.

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Marc, 2012
Graffiti 2015_1280
Graffiti, 2015

 

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Rebecca, 2014

CB: In a recent interview you did with ffoton, you had a great quip: “With a digital camera, you’re always looking at the last shot, but with film you are looking for the next shot”. What importance has film photography had for you? 

DW: Film is what drew me to serious photography in the first place. I was totally fascinated by the idea that a split second in time could be frozen onto a piece of celluloid and become a physical thing. It’s something that you can actually hold in your hand – this obviously comes from my materialistic nature. But it’s always been about film: shooting, developing, printing, scanning, the cameras, I love it all, especially the pace in which you work. For some reason, digital has never interested me, it’s incredible for certain, and I do own a Nikon D90, but there’s no allure there for me to fully switch from film. 


CB: Your work is specific to Wales, but do you feel your work makes a comment on a universal level, as well as the personal level?

DW: To me, Wales feels kind of neglected by the outside world, like we get the raw deal every time – the ‘nearly’ nation that’s living in the shadow of England and Scotland. Everyone is just plodding along with their lives. Art and Culture are something not to be taken for granted either, and we have to grab onto any hint of that as possible. In regards to the ‘Suicide Machine’ series, I’ve looked at many ‘small town’ projects over the last few years and it’s the same story everywhere. Small towns are suffering a dark depression at the moment – especially evident here in the UK, and probably even globally. Conclusively, Wales is much like so many other places in the world, and I do think it will translate. I really want people from all over to look at my Welsh projects and be able to identify with something in there.

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Rugby Pitch, 2014
Terraced Houses at Night 2015_1280
Terraced Houses at Night, 2015

CB: Do you feel comfortable categorizing your work as documentary, or using that label?

DW: I met somebody a couple of weeks ago that I hadn’t seen for a long time and when he asked what I was doing I said ‘documentary photography’ which resulted in a confused, perplexed look on his face (I’m almost certain that most folk are only aware of fashion/sport/wedding photographers) So I tried to explain that I tell stories through pictures and that there is such a thing. I think he got it, unless he was just being polite. So Yeah, I’m happy being called a documentary photographer – I’m completely self-taught and still learning all the time. These days, documentary photography incorporates fine art photography. Great documentary photographers are really taking time to research and engage with their subjects, working slowly and carefully to achieve high quality photos that are technically, visually and intellectually perfect.

CB: What’s your opinion on the role of a photographer as publisher and what you think about the recent increased push for photographers to publish photo books?

DW: We’re in a golden age of the self-publishing photographer, which is wonderful, and I’m sure will be looked back on fondly if the trend ever dies out. There are so many admirable photographers creating beautiful photo books, which are pieces of art themselves. The only downside is the flooding of poor quality photo books by mediocre photographers, which can sometimes make it difficult to discover the good ones. There’s lots of fantastic little independent publishing houses popping up all over the place too, which is definitely another good thing.
I made a few dummy books over the last few years and really like the fact that the photographer has full control over how their book will look at the end result – there’s also absolutely no stigma attached to self publishing these days.

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
Andrew, 2014

 

Lee 2015_1280
Lee, 2015

CB: What aspects of Bridgend do you wish to show to viewers through your portraits of residents?

DW:I always knew that I wanted to include portraits, in fact it was fundamental to the project. I wanted to show what the people of Bridgend looked like. At first, I focused on folk that were kind of stuck here for life, but as the project developed I became interested with the people who had left for a better life somewhere else. Bridgend is quite a small town so everybody knows each other in some way.

I’d never plan the portraits, it was always a spur of the moment thing if I felt the time was right. My camera was always with me so it was just a matter of getting that feeling and then asking the person if it was okay.

Over the three years, I inevitably ended up re-shooting the same person, either hoping for a better picture or because I had learned more about their circumstances and needed a fresh shot that consciously included the new knowledge I had acquired of them.

CB: Was your approach making images for this project organic, or did you have a brief of what you wanted to show?

DW: The project was around 90% organic. There was a brief but that kept changing slightly as time went by and the project matured. A project like this was a first for me , so I really wanted to see what would happen and where it would take me – I guess that was why the brief kept evolving too. But the main brief remained –  what did the future hold for Bridgend, and would I want to bring up my daughter here?

Pink Stillettos 2015_1280
Pink Stilettos, 2015

Dan Wood’s project, Suicide Machine is being published as a photo book by Another Place Pressa small independent publisher interested in contemporary photography that explores landscape in the widest sense, covering themes which include land, place, journey, city and environment – from the remotest corners of the globe to the centre of the largest cities.

To order the book, visit the Another Place Press product page here.

Also, check out Another | Place website for a showcase of contemporary photography edited by Iain Sarjeant.


Dan Wood is from Bridgend, South Wales, UK. Wood’s work has been featured in many publications including CCQ and Ernest Journal. He has participated in over 40 exhibitions both nationally and internationally; including four solo shows. Wood is also a member of the artist collective: Document Britain

See more of Dan Wood’s work at his website: www.danwoodphoto.com, or on Instagram: @danwoodphoto

 

Book Review: On the Nest by Dona Schwartz

 

Kristin and Ryan, 18 Days
Kristin and Ryan, 18 Days

Dona Schwartz describes her book as such: “In On the Nest, I use environmental portraiture to examine two moments of change that bookend parents’ lives—the transition to parenthood with a first child’s birth, and the transition to life without day-to-day responsibility for parenting when young adults leave their childhood homes.”

The book is comprised of three parts. The ‘Expecting’ series at the beginning of the book shows couples who are parents-to-be. Schwartz has photographed couples in the space they’ve prepared in anticipation of the baby who will soon arrive. The images are titled by listing their names and the amount of time left before their lives will change forever (due date/adoption date). The nervousness and/or excitement shown in the expressions and body language of the expectant parents is palpable. The clutter of all the recommended items for expectant parents in some of the shots is dizzying. Shelves covered with books for what to expect (but can never fully address), or clothes that won’t be worn for months and months after the baby arrives, and the single package of infant sized diapers… as if to declare: “We are ready”.

The middle of the book contains an essay by William A. Ewing. Ewing is a photography curator, author, and former director of photography for several prestigious centers for photography, including the International Center of Photography, New York from 1977 to 1984. Ewing’s essay, ‘Great Expectations’, is written both from the perspective of a parent who has gone through both stages of Expecting and Empty Nester, and that of an expert on the subject matter of a well-conceived and executed photography project – which On the Nest certainly is. These portraits have the power to draw in the viewer and as Schwartz says, “… invite viewers to reflect on their own experiences of change and the trajectories we trace in the course of a lifetime.”

The latter part of the book is the series of images, ‘Empty Nesters’. Presented in a similar fashion as the expectant parents, these couples are parents who are in the phase of life after their children have left home and their bedrooms/personal spaces.

Christina and Mark, 14 Months
Christina and Mark, 14 Months

The color images Schwarz presents throughout are practically deadpan. Couples are photographed in these spaces in a direct, documentary style. Couples of diverse races, ethnicities, and genders are all presented in the same way. The extreme wide angle lens used to capture these couples in small rooms results in images with the physical space distorted and exaggerated. Tables and chairs are distorted from their normal shape around the frame edge of the shots and the perspective is off – as if stretched by extreme gravity that warps both time and space. One could suppose this is how the Empty Nesters feel… Where did the time go? How did it go by so quickly? What happened to our baby?

Some Empty Nesters are shown in cramped rooms with some of the same types of knick-knacks as the expectant parents, with the substitution of exercise equipment for bouncy seats, and craft tables for changing tables. The only thing missing is the kids.

Gloria and Alan, 5 Years
Gloria and Alan, 5 Years

In fact, the children are never physically present in these portraits; save for photos on shelves or bulletin boards. The details in Schwartz’s photographs, the artifacts, the evidence that time has passed and are the only clues to the real inhabitants of these spaces. These clues are all we have to guess what the children are like – or in the case of the expectant parents: what they hope their children will be like.

Bobby and Kevin, Waiting to Adopt
Bobby and Kevin, Waiting to Adopt

Schwartz captures the broad strokes of the project by stating, “In our lives we experience multiple transitions, and in these moments of change we renegotiate our sense of self. Events like communions, weddings, baby showers, and retirement parties formally mark the new roles and statuses we take on. We cross other thresholds without rituals or celebrations—even though divorce is a momentous life transition, there is no script for marking its passage. I am intrigued by the ways in which we move from one life phase to the next, and I am working programmatically to represent complex processes of changing identity.”


Dona Schwartz is an American photographer living in Calgary, Alberta, Canada. She earned her PhD at the Annenberg School for Communication and is professionally engaged with photography as an artist, scholar, and educator. Amongst her many academic publications are two photographic ethnographies, Waucoma Twilight: Generations of the Farm (Smithsonian Institution Press, 1992) and Contesting the Super Bowl (Routledge, 1997). Her photographic monograph, In the Kitchen, was published by Kehrer Verlag in 2009.

Her work has been internationally published and exhibited at venues including the National Portrait Gallery, London, Blue Sky Gallery, the Milwaukee Art Museum, The Stephen Bulger Gallery, the Pingyao International Photography Festival, and in numerous juried exhibitions in the United States. Her work is included in the collections of the Museum of Fine Arts, Houston, George Eastman House, the Musée de l’Elysée, Lausanne, Switzerland, the Harry Ransom Center, the Portland Art Museum, and the Kinsey Institute. She is currently on the faculty of the Department of Art at the University of Calgary.


nestcovers

On the Nest – Dona Schwartz (with essay by William A. Ewing)
Published by Kehrer Verlag – November 2015

For more information on On the Nest, and other books by Dona Schwartz, visit her website.


(Originally written for and published by F-Stop Magazine in February 2016.)