We're constantly thrilled and excited that Photograd has the ability to bring together creatives and form unique collaborations. Graduate and working photographer Chris Mear created Coalville Photographed last year and recently approached independent curator and photographer Lucy Bentham to review the publication.
Here are the results.
Coalville Photographed by Graham Ellis: A series of short films and photographs by Christopher Mear
Self published edition of 25
At first glance, the cover of this book gives little detail as to what might be found within the pages. A series of eight QR codes are neatly arranged above the title suggesting, perhaps, that this book contains a cold, technological study of something, well, cold and technology based. The reality is quite different.
In fact, the book contains fifty images made by both the author and the photographer he has collaborated with to construct this narrative. Mear has followed a fellow photographer making photographs in his local area in order to become closer to the place and this has resulted in a deeper understanding of both the place and methodology. Initially, this method of documenting place becomes twice removed from the subject as Mear puts himself of the position of the documenter documenting the documenter. I am drawn to this notion in the way that if only we could document ourselves as we undertake a project, our methodologies would be in the spotlight, and what becomes of our chosen subjects?
It is clear, throughout the book, that Mear is continually questioning Ellis about his methods and position as a photographer and vice versa:
‘How much do you want to be an ‘excellent’ photographer? Is it something you want to do or is it something you’re going to do? But what’s the difference?’
Ellis asks this of Mear and Mear asks a number of questions pertaining to photography as an art with a series of interspersed quotations from famed photographers throughout.
We pursue Mear following Ellis during the series of moving images (found on YouTube via the QR codes) and, if you can see around the few technical issues – like the increasingly maddening flatlining sound from the van, or the obstruction of road noise drowning Ellis’ voice – then these monochrome records deepen our connection with Ellis. In contrast to the sense gauged from the book, the moving image additionally distances Mear from his associations with the place, presenting mostly as the cameraperson with a few indications that he remains as the camera occasionally wanders off to the side to look at something he is interested in, not Ellis. Because of this apparent distinction, I question whether the book and the moving image are unified from the perspective of the viewer. The moving image existing without the book makes Mear invisible and puts him in the sole position of the cameraperson – yet his presence is palpably felt within the pages of the book.
This book, and the project it contains, is achingly familiar as a documentary project of place. But it goes much further in positing a breadth of questions regarding the role of the photographer and the relationships held between practising photographers. Especially considering those making projects about the ‘same’ place or subject, it has to be noted that this book also defines the distinctions between how crucial the position of the photographer is, how our subjectivities are central to what we see, and the varieties of experience we bring to each enquiry or investigation.
N.B. As ever, this is a subjective review of a piece of work I am considering through my lens as a photographer and curator as well as reader/viewer.