TYPOLOGIES
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DEBBIE BRADY Debbie Brady is a Prince Edward Island–based photographer who specializes in macro photography of oysters shells to create abstract fine art. IG: @oyster_art www.oysterart.ca
IN THIS ISSUE... 9 BOOKS WE LOVE By Alan Bulley 10 HEATHER DOUGHTY’S INSPIRE: THE WOMEN’S PORTRAIT PROJECT 12 TANJA-TIZIANA’S BUZZING NEON LIGHTS 14 BART GAZZOLA DISCARDED 19 DISCOVERING SELF: VERA SALTZMAN By Peppa Martin 24 THIERRY DU BOIS PROJECT Y
26 S TÉPHANE ALEXIS’ CHAINS & CROWNS By Rita Godlevskis 31 ARNAUD MAGGS: A CAREER IN THREE ACTS By Anne Cibola 36 ÉMILIE RÉGNIER AND THE DEVOTEES OF LEOPARD PRINT By Laurence Butet-Roch 42 MORRIS LUM’S CHINATOWNS By Briar Chaput 46 LAUNDROMATS OF TORONTO By Ramtin Teymouri Ben Harvey 45 WALTER SEGERS STORY LINES
Canary Wharf Bikes by Jonathan Pearce
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EDITOR’S NOTE
GLORIOUS GRIDS! Photos by www.margaretmulligan.com
TYPOLOGY PROJECTS INVOLVE TIME, an unwavering dedication to a vision, and a rare devotion to photographic work. Part art practice and part document, typologies present collected information that gives viewers a new perspective on a detail of life that the photographer wants to draw our attention to.
“What is photography other than collecting?” — Hilla Becher
Working meticulously and with specific selfimposed rules, Hilla and Bernd Becher set the standard when they obsessively documented industrial structures for over 30 years. The German photo duo toiled and inadvertently created a new genre of photography that has inspired subsequent generations. It’s impossible to take a history of photography course that doesn’t mention them. Their work has had a significant impact on me and the artists in this edition, without a doubt. This issue presents the work of Canadian photographers who have taken on their own typology projects. From portraits, to shopping carts, to hair, to Chinatown architecture, to leopard print fabric, this issue celebrates their work and asks them to tell us more about why they have become obsessed with their subjects.
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WINTER 2021 /22 ISSUE #63 ISSN 1708-282X
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Looking ahead, I’m really excited about our 2022 season. Not just because we’ll be sharing more Canadian photography stories (in print and online, and through virtual events), but also because we have the pleasure of hosting a year of guest issue curators! A first for photoED, thanks to a special grant from the Canada Council for the Arts. First up, on our Spring/Summer 2022 edition, is Djenabé who is already killing it planning ideas for her Fashion X Future issue. Get ready for some truly unique work. We just can’t wait to share it with you – soon!
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Ruth Alves Alan Bulley Laurence Butet-Roch Briar Chaput Anne Cibola Heather Doughty Bart Gazzola Peppa Martin Tanja-Tiziana
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TYPOLOGIES IN PRINT Beautiful Books to Behold BY ALAN BULLEY
JAMES WILSON: SOCIAL STUDIES
BERND & HILLA BECHER: BASIC FORMS
SASKATCHEWAN BOOK: PHOTOGRAPHS BY GEORGE WEBBER
Introduction by John Leroux Hardcover, 2020, 176 pages, $40.
Text by Thierry de Duve Hardcover, 2020, 160 pages, $47.
Text by Lorna Crozier Hardcover, 2020, 320 pages, $45.
Let’s admit it: we humans find faces endlessly fascinating. James Wilson’s portraits cover a wide cross-section of his New Brunswick neighbours, friends, and acquaintances. He poses his subjects against a plain background, often with a costume or prop to hint at their livelihood or to express their personality, from mechanics and farmers to lawyers and judges. The photographer’s approach is often reminiscent of the work of August Sander who attempted to create an objective photographic catalogue of German people in the early 20th century. In other words, a human and social typology.
Bernd and Hilla Becher’s photographic studies highlighted recurring patterns in industrial structures. The Bechers created each of their photographs with the same setup—large-format, black and white film, in flat light, the subject captured head-on and with vertical lines parallel. Their aim was to use the characteristics of photography to document “objectively,” studiously avoiding anything that could appear artistic or contrived. Their approach has influenced the work of major art photographers, including Andreas Gursky, Candida Höfer, Thomas Ruff, and Thomas Struth.
These are not environmental portraits, so we pore over clothing and faces to gain insights about the people portrayed. We can’t, of course, but we can learn something about the way we read others. A thoroughly enjoyable book.
This new book is a good overview of the Bechers’ work, although printing some of the images on a single page would have helped the reader to get the full effect of their similarities and invite the “compare and contrast” exercise that a typology demands for full effect.
Intentionally or not, the photographs George Webber made of rural Saskatchewan over the course of 30 years form a landscape typology. Beautifully portrayed in colour, his eye returns again and again to familiar prairie themes that invite comparison: faded signs, buildings in need of TLC (or more), and details of abandoned items left to decay. Although the particulars may change from scene to scene, there is an unavoidable thread that runs through the book: the wideopen skies of the prairies might go on forever, but traces of human settlement fade. You would not guess from Saskatchewan Book that the province has cities or that its population is growing. Instead, with every frame, Webber evokes memories of a way of life in a countryside eclipsed by urban living. It is an affectionate lament for the past.
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photo ED 9
WALTER SEGERS STORY LINES I travel quite a lot and inspiration for my work often arises from my curiosity around the interaction between humans, objects and locations. I am drawn to work that is layered, visually and conceptually, and is capable of communicating multiple stories simultaneously depending on the life experience of the viewer. The series Story Lines combines multiple images using repetition. I record a location as a background and through people accidentally performing in front of the camera. Their interruption disputes the idea that there is a sense of order in our lives, and that being in the same place with someone else does not mean connectivity. Walter Segers is a photo based artist living in Toronto. His works explore issues surrounding gender, sexuality, immigration, belonging, and identity through multiples, grids, and series. www.waltersegers.com TOP: ‘Hotel Des Belges (Paris)’ BOTTOM: ‘Long Street (Cape Town)’
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