The photography of trauma always seems to be focused on the aftermath of a certain event – images of bodies, ruins and devastation. This project looks at the opposite end of this spectrum, the days leading up to a particular event, which turns this “reportage” style of photography completely on its head, showing ordinary Parisians going about their day-to-day lives, not knowing what was about to unfold a few days later. This chapter of the project also focuses on photographers who are using analogue processes, such as 35mm film, which is dying out in the wake of the digital revolution. The need to make an ongoing “living archive” of photographs is also really important as this event is momentous and historic and needs to be documented, in any way possible.
I’m a recent graduate of Wimbledon College of Art, where I studied BA Fine Art Print and Time-based Media. My practice is in analogue photography and I’m interested in archive practice, issues of personal and conflict history, the Irish Diaspora, collective history, post-colonialism and subversion of historical narrative. By using photography and celluloid film, I’m is concerned with the materiality of the image, the process through which the image is made, using this process as a metaphor and informing and subverting the audience’s perception of a work.
I’ll be involved with most aspects of the project form now on – helping to create an archive system for the photographs that works in the long term as the project evolves and more images are accumulated, helping with social media, workshops, zine design and with anything else that needs to be done.