Here you will find behind the scenes snippets, vigenttes and occasional deep dive into my projects and commissions.
Emerging from Manchester’s vibrant 1970s punk scene, Linder has crafted a compelling and critical narrative spanning five decades, centred around the sexual commodification of the female body. Through her iconic photomontages, where everyday objects are fused with fashion aesthetics, and her sharply observed performance art, Linder has rightfully earned the title of icon. I had the privilege of photographing Linder in 2017.
For me, a captivating portrait often involves a touch of serendipity in its creation, and the day I spent with Linder was certainly no exception. So, to celebrate Linder’s retrospective, I’d like to share a bit about what transpired.
Following a few emails and a phone call, Linder and I agreed to meet at 9 a.m. on a very wet autumn weekday in Lancaster, Northwest England. We were the only two people there, holding the key to the town’s modest Quaker’s Meeting Hall. We entered and whilst I searched the building for a suitable location to set up the first shot, Linder unpacked her clothing selection. After finding the perfect spot in the hall’s ultra-minimal Worship Space, we reunited, brewed some coffee, and discussed our plan. During these moments, serendipity struck when Linder presented a pile of large, exquisite uncut silks, printed by the late fashion designer Richard Nicoll.
Richard and Linder, two creative souls, began collaborating in the late 2000s. Richard approached Linder with an idea—he wanted to incorporate screen prints of her photomontages into his clothing designs. Their creative partnership blossomed, and they formed a close friendship.
Tragically, Richard passed away suddenly during a trip to Australia in 2016, exactly a year before our meeting in Lancaster. To commemorate the anniversary of his passing, Linder made a spontaneous decision that morning to bring a selection of silks (that Richard had entrusted to her for safekeeping before his departure to Australia) to our photoshoot. Within the minimal space I had found, I suggested that Linder wrap herself in multiple layers of the silks. By cocooning herself in their warmth, friendship, and shared artistic vision, she could pay tribute to Richard’s memory.
Once in the Worship Space, Linder’s pose, striking hair, and position, all anchored by three ceiling lights, worked effortlessly. It was meant to be.
We captured more portraits that day and shared a delightful meal together. While we were pleased with the other locations, clothing, and poses, there was something truly magical about our first encounter.
Understandably, there are numerous online previews and significant media attention surrounding Danger Came Smiling. I highly recommend an insightful interview with Linder in Burlington Contemporary by Emily Steer. Emily is a fantastic arts journalist who is also training to become a psychodynamic psychotherapist. I believe Emily’s dual experience provides valuable insight when delving into the more challenging aspects of Linder’s work.
https://www.southbankcentre.co.uk/whats-on/linder-danger-came-smiling/
https://contemporary.burlington.org.uk/articles/articles/linder
https://en.wikipedia.org/wiki/Richard_Nicoll
https://emilysteer.com