“I only work in the studio and use a large-format plate camera. It’s a very laborious process that allows almost no room for improvisation. Everything has to be perfectly aligned and calibrated. I’m typically photographing things that are two-dimensional: book and magazine covers, record sleeves, film stills, etc. or objects that have very little physical depth such as the developing trays or audio cassette tapes. I’m interested in this flatness. My approach to making images is very influenced – and informed – by commercial and technical photography, where there is no ambiguity as to what is being depicted. Like commercial photography I’m interested in establishing an aesthetic clarity but at the same time, through the nature of the objects I shoot, I’m equally interested in creating a sense of emotional or psychological uncertainty. This tension – between what is depicted and the nature of its depiction – is central to my approach.
Photography, by its nature, encourages various forms of framing – whether it’s in the camera’s viewfinder, the format of the film used, or the dimensions of the subsequent print, you are constantly made aware of how a photograph edits things. The studio is increasingly present in my work as a kind of stage where objects are presented and documented. This is perhaps most evident in the images of stacks of records leaning against the studio’s grey floor and white walls. I’m interested in the apparent neutrality of these kinds of spaces, which include the monochromatic backdrops I also use in my work. Like the white cube gallery space, these visual devices serve to distance individual objects from their original circumstances or context, creating a space that is somehow both specific and ambiguous.”
More of Anne’s work here