I took it upon myself to make a study visit on 10th March 2018 to see Simon Roberts’ Merrie Albion exhibition on the last day it was open! I am glad I did because it made me realise a few things about Roberts’ approach (by seeing his massive prints in person) that I hadn’t completely grasped when I wrote a post about We English a while ago.
The main thing I came away with was that Roberts doesn’t just choose any random subject and photograph it from above. Invariably he chooses events to document people interacting with the British landscape and obviously feels it is more effective to adopt an elevated position in the majority of his viewpoints of such events. I would have to agree that his approach in choosing a high vantage point works for his subject. Viewing his beautiful and consistently huge prints in person was a rewarding experience. This was because it was appreciable the amount of skill that went into taking the photographs in the first place (on a large format 5×4 camera) but also the print quality rendered lots of detail and pleasing colours. More importantly however I could take in the scene from a perspective which allowed me to see relationships between the different people but also juxtaposed with the setting they inhabit.
If Robert’s work didn’t concentrate on events in the landscape would it be as effective? I wouldn’t say so for the reason it would still look nice but it would become more incidental and the tableaus wouldn’t have as much meaning. While this might seem pretty obvious what I am trying to get at is that this is a niche that Roberts’ has found and used to his advantage very well. If I were to imitate Roberts’ work in my own it would have plenty of meaning and pleasing aesthetics but the style is quite rigid and I couldn’t foresee much different I could do to make it my own. However, by looking at his work on the study visit I started to wonder about how the people in the scenes looked almost like they were part of a performance. It might be possible to play upon the performance aspect of his work in certain ways.
One way I could envisage this working would be to choreograph some kind of (random, not yet an event) performance in front of the camera and have the camera be set up at eye level (unlike Roberts’ approach). The reasoning for the camera being set up at eye level rather than from a higher viewpoint would be in order to subvert the fact that the performance isn’t happening naturally anymore; it’s being choreographed. One example of a choreographed-based performance I could imagine occurring in front of the camera would be myself moving around in front of the camera (while it is set on a tripod and an interval timer) and perhaps interacting with people in the vicinity. This kind of performance intersects the usual gaze of the photographer being behind the camera which is documenting the scene in front of it.
Therefore by visiting Simon Roberts’ exhibition on the very last day it was open I have been able to find a new idea that differs in many ways from his style of photography but yet shares one key feature; that of performance in the landscape. Admittedly I am yet to try out this idea but I will endeavour to do so and see how it pans out.
Simon Roberts – Merrie Albion – Landscape Studies of a Small Island [Exhibition] 19 Jan – 10 Mar 2018. Flowers Gallery, London Kingsland Road.