#seedmonograph

VI. Sophie Harris-Taylor.

Sophie’s work can be direct and poised, fleeting and distant, or beautifully improvised but what makes her work so special and enjoyable to look at is due not in part to an unfaltering and distinct consistency, and deep understanding of framing & lighting...

Sophie. Are you ready?

Hey yes!

Great! Straight in; Did you ever have a childhood/teenage nickname?

Not really, but I get called Mophs a lot by close friends.

And if I were to ask one of your friends what your signature dance move is, what would they most likely say?

Haha… I was at a wedding this weekend and got told I dance like someones Aunty.

Im not even sure if that's a vague compliment or an insult.

I think it was definitely an insult!

Looking over the your works completely, one theme I noticed in many series’ was that of psychological states, and documenting states of beings. Would it be fair to suggest that some of your series’ are in part, autobiographical at all?

Yes, most of my work is autobiographical; MTWTFSS series is most certainly the most personal to me. Its only really become apparent in recent years that although I’m representing aspects of other people, I’m seeking the aspects which I’m familiar with and which I can relate to the most. So I’m really often using them to express myself…

And what other themes do you think come most naturally (to you), to be drawn out in other people?

Our own relationship with ourselves and our bodies. Also, being comfortable or uncomfortable in our own skin...our ability to be vulnerable. Possibly as a woman, I’m slightly more intrigued to capture women and the aspects of life which goes with being a woman. Themes such as the everyday and mundanity of life occur as well as, relationships...

And how does that link with MTWTFSS? Tell me a little bit about the series; are the subjects all friends, or are some less familiar?

For me it links completely with this series... almost all the subjects are very close friends, the people that I believe to know me the most (with one or two exceptions). Everyone in the series has been in some way significant in my life. When I first started taking these pictures (about 8 years ago), I purely wanted to capture my closest friends (well that’s what I thought), but it became apparent that I was using them to capture myself in some way. Self portraits weren’t for me (and still aren’t!). For the last few years, the shoots have been less frequent, some of them months apart, while others, only days. In the periods where I haven’t been shooting I’ve felt like I lost the ability to express myself. These people give me that ability back and without them this work wouldn’t be here.

So what did you enjoy about shooting so freely in that diaristic style, in comparison to the planning and constraints of say, a studio?

I never really try and constrain myself even when shooting in a studio and only ever shoot with natural or available light. For me the diaristic style, I guess feels inevitably a lot more natural; the shots aren’t a set up, they are real spaces, real people and private moments happening at the time. Im in awe of my friends who are able to let down their guard and ignore the camera; this approach is much more difficult when shooting in a studio, because it becomes about taking a portrait of someone and taking them out of their truth.

And of course the publication for your MTWTFSS series has began funding (really impressively with ¾ raised with 21 days to go) on Kickstarter! What has it been like, having had such a positive reaction?

I know! Its been amazing. I was putting it off for so long because of the fear of failing and the overall fear of having my voice out there, as I’m not someone that finds it easy to put themselves out there. But I’m truly so grateful for the support from everyone and the comments I’ve received. fingers crossed we will make it, because the work is so personal and was never intended to be a series or a book. It happened so organically but at the same time, it wasn’t something I had planned like other series, so it does feel strange to be releasing it.

And it's your first publication?

Yes my first publication, I’ve made a couple of one off craft-like books in the past but nothing that I’ve ever tried to publish really.

I also noticed that between your series based and personal work, that you also shoot some fashion stuff too. How do you find the shift from working with working solely for yourself with a familiar subject, to working with a stranger and with/for a team?

For me, working with a friend and someone I’m familiar with feels completely natural and whether I’ve got my camera on me or not it feels like we are hanging out and not doing a shoot. So I try my best to recreate that with any other subjects I shoot, this includes, models, musicians etc... I would never be able to pick up my camera without having a conversation with someone beforehand (I have actually had to do that before and it didn’t go very well!).  I want people to open up to me, to let their guard down and feel comfortable with the camera there and with me. Shooting for me is very much a collaboration and I don’t ever want to exploit people in my work. I think it helps being quite an open person, and more often than not, subjects have often gone on to become some really good friends.

So how much of a role would you say sexuality plays within your work, overall?

I don’t think it really plays much of a part at all, its never something I’ve thought about when making the work. Obviously I shoot a lot of people without their clothes, but I don’t think these image are sexual per se... Do you?!!

Haha, some of them, to a lesser extent. There are some that come across... in a dynamic, dramatic way as opposed it just being straightforward sexual. Like some of those you shot with Yuka for example. But, I also feel as if Stay, is fairly sexual in one way or another... maybe not in the way of desire, but it explores male sexuality and the idea of tension, but I could be very wrong. Do you feel as a female photographer that it would be easier to convey aspects of sexuality through male or female subjects?

Yeah I guess. Stay, I guess does seem a little sexual, most of these men have quite a sexual energy so I guess that comes across. I never really try and convey sexuality even in the pictures of my partner, this doesn’t come across so I don’t think I find it easier one way or the other.

Have you read John Berger’s Ways of seeing?

Yes, a very long time ago though, so I hope you’re not about to quiz me!

Not at all! I actually nearly didn’t create a question about it; it’s almost too obvious a book to reference! Nethertheless I was flicking through the other day, and stumbled on his famous section on nakedness vs nudity. In regards to your work, you work actively with both the naked (unconscious; un staged) and the nude (the unclothed body, made to seem as an object of art), which when I thought about it was to some extent, uncommon. Do you think either one within the current generation of photographers, has a greater potential to challenge how the female body is perceived?

I guess at the moment candid nakedness is pretty trendy within contemporary photography and the nude as a piece of art is something that we feel we’ve seen time and time again - and almost always becomes a comparison between the likes of Bill Brandt, Helmet Newton etc. I personally like to work with both for different reasons: nakedness for me is more about our own relationship with our bodies and the nudes are more a study of the body - but for instance in Slight Wounds, the images were as much about the body itself as well as the importance our bodies have on our life and as a reflection of our life. So I guess for me, both still have relevance and a place today. I think its easier today to use nakedness to challenge our ideals surrounding female maintenance of beauty though. I guess because its more fashionable, people are more likely to look at that kind of work than a traditional nude.

So out of interest, what draws you to a subject, when looking for those to collaborate with?

Their ability to be completely comfortable in front of the camera where nothing about the camera fazes them, and their ability to show their vulnerability, their insecurities and self doubt. This is what fascinates me and allows me to understand them better and hopefully one day be comfortable with who I am. I’ve photographed before some of the most beautiful people but have found the experience incredibly dull. Having nothing behind the eyes of the sitter isn’t for me.

Do you ever street-cast?

Yes I have done; not as much nowadays but occasionally I’m drawn to someone I see in the street. It might be their mannerisms, their style, their skin and I can’t take my eyes of them and want to get to know them through photographing them.

So, you’re basically a stalker?

Very much so!! Hah.

I hope you don’t find it nosy of me to ask, but do you feel as if being represented by an agency changes the way in which you are perceived, in regards to being emerging?

Its not something I’ve given much thought to having only recently become represented. But ask me the same thing in a few years. For me though, it’s been incredible to have someone who is so supportive of my personal work and someone to openly speak to and encourage me. As an artist it can be pretty solitary and most of the time you feel you’re making your work for yourself and its not something you feel others give a shit about, but having someone who represents you does give you a boost in what you’re doing.

And tell me a little about your upcoming exhibition. What works will be shown and where?

Im really excited as it’s my first major solo show. The work will be taken from MTWTFSS so the really personal diary moments from the last 5 years. It a new gallery, Spencer Murphy will be the first show and I’m the second (so a tough one to follow)! The book will be launched at the same time.

So let’s hypothesise here. You’ve borrowed a mates car to drive to the seaside. Real old thing. On the motorway you open the glove box to look for some music to play. There are only two tapes: King Diamond- Abigail or Grauzone- Grauzone. What, if any, do you decide to play?

Just had to google; would have to say Grauzone, my heavy metal days are over!!!

What Country/City feels the most like home, for you?

London, I was born here and have never felt the need to leave.

Im quite surprised actually; I'd seen you'd done a fair bit of travelling in MTWTFSS so thought it might be elsewhere.

I love spending time away with friends and yeah quite a bit of the work gets made when I’m away but theres nothing like coming home.

A population of feral Hippos reside in Columbia because of Drug Baron Pablo Escobar? True or False?

True! (Im very gullible).

Haha correct. Lastly; better choice- Pizza in bed, or wine in the bath?

V. Eric Ruby.

A vibrant pursuit of the unexpected, the uncanny and the unpretentious, would be the best way to describe the approach of California dweller Eric Ruby, whose series’ and website, both colourful in their own respective ways, had me intrigued from the first time I came across them…

Dorrell Merritt: Eric, you there?

Eric Ruby: Yeah, hey.

Nice one. I’ll try and keep it brief as I know you have work in a bit. I actually wanted to start the interview by getting your opinion on movie reboots. What do you think is going to be worse: Power Rangers, or Ghostbusters?

Hmm. Well technically I don’t think Power Rangers would be a movie reboot. But I imagine they’ll both be pretty bad.

Yeah; basically they’re remaking the 1996 one. I think Melissa McCarthy is going to be in Ghostbusters. Infact, its an all female cast.

Oh, could be alright then?

I like your optimism. So give me a brief history of your photographic life thus far: did you study photography, or progress independently?

I somehow have two degrees in Photography. For Undergrad, I went to Rochester Institute of Technology. Then lived in Minnesota for four years then moved to Boston and got my MFA at Massart. I like to think I still have my own path though.

And what degree do you think shaped you the most as a photographer?

Probably my Undergraduate one.

Was that more due to the course itself, or the lecturers, do you think?

I approached Grad school more as a intensive residency for a practice I had already sustained, so as for my tastes/formation of my style practice it was developed (pun intended) earlier on.

(Haha nicely done). Flattery aside, I think there are a lot of photographers out there that try and do what you do, and fail ultimately. When I first came across your website, I began to notice your penchant for filling the frames of your images, sometimes dramatically, which with their tones and dramatic lighting set you aside from others completely. Infact, many of your fruit compositions, though often taken from unconventional angles, have a real painterly feel to them despite their modern lighting. What do you like the most about working within your style?

Thanks for the compliment; I think it’s maybe hard to talk objectively about what I like about my own style… but I’ve always made pictures just by following my own interests (compositionally) and trying to experiment and push my own limitations of how much/how little can be put in the frame. When it boils down to it, if it’s a boring picture to me, why even bother making it? Im also definitely inspired by other almost all media art and non-art included.

How long would you say that you’ve been working in the more, improvised style, that you’ve become known for? In terms of your other inspirations, what would you say they are?

I’d say since the day I graduated from undergrad. I would say my heaviest influences are Peter Fischli and David Weiss. Their mindset of working was incredible, especially collaboratively.

Im gonna google them. (Googles). Yeah I like it, very surreal…

One of my favourite pieces is “The Green Flash”. It was a slowly spinning little table thing with a plastic cup that would spin as well. There was a flashlight that would shine through the cup and when it was at the right angle, it simulated “The Green Flash”: the phenomena of green light flashing as the Sun sets on the horizon. But the action of passing out this natural phenomena from a planetary scale to some household objects was dumbfounding to me.

Yeah thats pretty intense. The transformational quality and seeing the potential in such an mundane object kinda comes through in your work as well. And for the majority of your works, you document as a spectator; a passer by, friend, neighbour… is this way of working so fleetingly and sporadically parallel with your personality?

More and more my personality as a person has become conflated with my identity as a photographer, since the two are essentially inseparable… although, sometimes when I look at my own pictures I feel like they were taken by some other third party, a fictional story teller. That’s something I’ve been trying to embrace as of late.

And I saw the section on your site dedicated to portraits of yourself, by other people. How does taking photos compare, with you being in front of the camera?

The whole premise for doing the pictures of me series was based on a curiosity about how other people would apply their photographic style to me. I completely let go and let people do what they want. I’ve never really had an issue letting go of control; a lot of my own pictures I don’t look through the camera even. Having faith/trust is important to my practice.

So, in a way, you’re kind of a muse haha? You’ve sat for a lot of great photographers too.

I really kind of like being photographed, it’s usually a collaborative experience. I wouldn’t go as far as muse though, ha. Almost all of the interactions were orchestrated by me. As far as I know, no one has used the pictures for any other purpose either.

Nethertheless its a nice collection of images. I like the progression of them as time goes by. It's a nice panorama. What’s your stance on neo-folk music?

Hmm, what artists?

King Dude

Can’t say I know him.

I was listening to this when working on your Q’s. I want to see what you think. Pretty nice album. Not really summer listening though

(Listens). Kind of sounds like Bill Callahan.

From Smog?

Yeah. At the moment, King Dude is not really my vibe. But it could be the weather.

Yeah, he’s a real Winter artist truth be told. I should check out more Smog actually too. So what are you currently working on, photographically?

I just got back from being in Moscow for a month, shot a ton, so trying to figure out what that will be for. Also trying to print my thesis book from a couple years ago, and I’ve been making some new wall pieces where I mount pictures on fabric that I dye different colours. Juggling.

And will the images that you created by compiled next to ones shot back home, or is it a completely separate series?

Yet to be determined; Most likely they will be grouped together, but if there’s some that fit with something else, then they will fit.

Changing the subject slightly, I was wondering recently about artistic struggle, financially, and how little it comes up in interviews.. I mean apart from the costs of studio rental or film costs, younger artists/media outlets seem less inclined to speak about the realities of being an artist; doing awful jobs for years on end to make ends meet etc. How important do you feel artistic struggle is to the development of an artist?

As they say, it’s a labor of love. It’s kind of fucked up, but that’s the way of the world and I think you just have to navigate the best way you can. For instance, I started self-publishing because it’s something I wanted to do as I enjoy making things and having them be out in the world. If your goal is to make money, pick a different career. That being said, I’ve always tried to work jobs that cater to my life. Jobs where I can take time off, go on trips, with little to no consequences. Also, being able to take advantage of the facilities of the places i’ve worked for making my own work i.e. scanning, printing. I think doing weird jobs also contributes to aesthetics and general experience.

And do you think your own struggle has helped you pace yourself, be patient, optimistic…?

Ha, I don’t think I’m waiting for anything. My goal is to keep myself happy with the work I’m making, if something comes of it great, but if not, that’s fine too.

Where do you work, out of interest?

Right now, I work for Jim Goldberg as his printer/book designer/file management guy. but I also freelance print, design for other people and galleries etc.

Bloody hell! Nice one. Do you think you could pinpoint a specific image that changed the way you saw photography as a whole? If so, what was it and who was it by?

I think maybe that Koudelka dog picture. 

Yeah, I just had a look. Pretty ominous. Why that one in particular? Im intrigued as its very different to the images you make.

I think just because of the incredible mood it creates. All the elements of the picture are simple and I’m sure the Dog wasn’t mean or anything; it just represents photography’s ability to take things completely out of context. Another one would be a John Divola picture from “Zuma“.

So what other emerging photographer would you say has the perfect combination of talent and consistency?

My close friend Dan Boardman. He’s a huge inspiration to me, and his new work is incredible.

If you could get tattooed by one person for the rest of your life, who would it be?

Myself. Stick and pokes are fun. also, can only blame myself if it’s fucked up.

Haha yes for sure; there’s a book worth looking up which talks all about it. Has a lot by a guy called Fergadelic (who designs all the Palace Skateboards stuff). Cant remember the name of the book though**. Jeff Wall or Gregory Crewdson?

Neither. So fucking boring.

Hmm. Ok I’ll put you on the spot. Jim Goldberg or Alec Soth?

Both haha. They both have very different sensibilities…

Haha… Off the top of your head, could you give me a British idiom?

I’m gonna need to search.

Sure.

Don’t know if this is actually british, but according to this website it is, “lose your lunch?”.

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