According to Nigel Shafran his Washing-up 2000 series didn’t start out as a concept, but was just a close-by subject that gradually evolved into a series. This is the kind of impetus that a lot of his work springs from. Shafran always tries to build in ambiguity into his work so that the interpretation is left open to the viewer.
If I have a mental picture of what I want it is never really open-ended enough for me. If you just let go a bit and accept how things are, the possibilities become completely infinite. There’s a quote that I have probably got wrong that says, ‘to concern yourself with art, the subject is lost. To concern yourself with the subject, the art is found’.
Nigel Shafran in Interview with Charlotte Cotton
His photos show the viewer the everyday-ness of domestic life, giving the humdrum activities, that we all perform without any depth of thought, another dimension. Shafran’s photos could be considered worthy of a time capsule to show people what the world looked like in the twenty-first century.
In contrast Sarah Lynch’s work is very much concept-driven. Lynch takes fragile objects like blades of grass, paper, cotton and builds sculptures with them. The objects are engineering works of balance and tensile strength, but throughout all the works the main theme that comes through for me is the fragility of life.
I really admire the effort that gone into the setup to make this image. There must have been a lot of trial and error to achieve this sculpture.
I have to admit that my goal of making people stop and pause for a while is a relatively new one, I used to say I wanted to save the world. If I go by my old benchmark I haven’t succeeded yet!
Sarah Lynch Interview (2012)
Boothroyd, S. (2012). Sarah Lynch Interview [online] Photoparley. Available at: https://photoparley.wordpress.com/category/sarah-lynch/ [Accessed 24 June, 2017]
Shafran, Nigel (2004). Interview with Charlotte Cotton, edited photographs [online] Available at: http://nigelshafran.com/interview-with-charlotte-cotton-edited-photographs/ [Accessed 24 June, 2017]