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Inside the spider, Suzie Howell

Between the years of 2014 and 2017, I regularly visited and photographed Walthamstow Marshes in East London, one of the last natural Wetlands in the capital. Many of the photographs are a study of the unperturbed landscape that I often wondered alone, others portray my sculpted reinterpretations of objects found on the marshes and the constructed narratives I created with female figures. 

https://fotoroom.co/inside-the-spider-suzie-howell/

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Daria Bogdanska, Wage Slaves ; Dans le Noir, 2016

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Lucia Berlin Manuel à l’usage des femmes de ménage, 2015

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Phoebe Kiely, They Were My Landscape, 2018

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Phoebe Kiely, They were my Landscape, MAC Books, 2018

Could you tell me about your process? There’s a huge variety of subject matter. You’re not limited to portraiture, you’re not limited to architecture.

Well it’s always really been about carrying my camera everywhere. I think the only times I didn’t carry it was when I knew I was going food shopping because I knew I’d be carrying a lot of bags. Other than that I would carry my camera everywhere because of the possibility that anything could happen.

There’s quite a few images in the book, two that I can think of specifically:a photograph of a man on the floor with blood on his face, and there’s a picture of a window. They were actually taken on the same outing. After a few months of living in Manchester I went to IKEA on the tram, which is actually quite a long ride, and I could see so many things and I wanted to go back. So I bought a day ticket out to Ashton-under-Lyne and got off wherever I could. The window picture I did first, when I got back to Manchester I was actually in Piccadilly Gardens when I saw the man on the floor; I thought to myself ‘this was the reason I was out, this is why I’d left today’, I felt it was really necessary to capture him.

It’s chance a lot of the time. It’s looking. I’m constantly looking. There’s one picture that looks like bin bags, and that was just me going out with my mum in the car to somewhere where she gets eggs. There’s always a chance for images everywhere.

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L’image contient peut-être...

Bug Instagram, juillet 2019

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Paula Modersohn-Becker

Jeune Fille Tenant des Fleurs Jaunes dans un Verre, 1902

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Paula Modersohn-Becker

Être ici est une splendeur. Vie de Paula M. Becker, Marie Darrieussecq, 2016

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Annie Ernaux, archive

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Annie Ernaux, Mémoire de fille, 2016

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Artists Eline Mugaas and Elise Storsveen’s started working on their fanzine periodical ALBUM# in 1998, a collaborative project meant to go ‘forever’. 

The A4 full-color zines are xerox-printed, bringing together found, mass-distributed images that have been sourced from magazines primarily picked up in Oslo flea markets. Without accompanying text, the artists re-assemble advertisements and other visual excerpts to devise new narrative threads.

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Pierre-Marie Drapeau-Martin, Livre d’Or, 2019

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Cecilia Kanthi Jonsson, Blind Spot, I didn’t know their stories but we had the same eyes, 2019.

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Cecilia Kanthi Jonsson, Blind Spot, I didn’t know their stories but we had the same eyes, 2019.

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La Douleur, 2017

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Mervyn O’Gorman, 1910′

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Mervyn O’Gorman, 1910′