16.11.09
Edinburgh Based Portrait Photographer Gavin Evans Interviewed
You’ve had a career without compromise, how hard has that been?
It would be impossible to resolve my conscience if I chose a comfortable career founded on compromise over a life of spectacular obscurity. I’ve careered to this point and to change tact would have deprived me of a series of unique experiences and an extraordinary education.
How do you bring your personal vision to a commercial shoot?
I’m fortunate to be commissioned for my idiosyncratic take on photography; more often than not I’m called upon to provide a concept that satisfies the client’s brief. I shoot a lot of arts-based campaigns which pose their own peculiar challenges as images are always needed months before rehearsals, costumes or sets have started. My task is to create a set of images that reflect the performance without being specific. In these circumstances I work closely with the director or choreographer, such as Javier de Frutos or Rufus Norris, to create images that reflect the
sentiment of the piece, while avoiding a setting that could change come opening night. On the rare occasion, an idea formulated in the studio can end up transposed to the stage. When this happens, it brings a whole new dimension to
my art.
Your images are incredibly powerful and physical. Is this something you aim to achieve?
Every subject presents a unique opportunity through which to channel your vision. Each time I shoot I aim to leave my imprint and to achieve this I carve with light. The strength of an image, subtle or visceral, lies in its ability to communicate the unspoken. If my images move the viewer to stop and enter into a dialogue, then I’ve had a measure of success. Recording the moment where the subject is between reaction and action can be very powerfulin its self: I don't manufacture it to provoke the image.
Do you feel that there is an atmosphere of confrontation with the subject you are shooting?
Confrontation arises when the viewer's beliefs or preconceptions are called into question. An atmosphere of confrontation with the subject, benign or aggressive, is inevitable and ground rules must be established. There's no time for delusional quests in search of mythical truth, trust or souls. To be liked is less important to me than to be respected. I show the subject my work and this usually brings about an equilibrium of egos. From there on I take full responsibility.
The way you work is like an outsider or independent, how does that work for you?
My subject matter is elusive and revolves around a network of contacts that operate in their own orbit. Ambition and budget seldom marry together and that is an unattractive proposition for any agent. It’s down to me to produce my assignments from concept to delivery. My dilettante tendencies require a special kind of agent. I’m intrigued to
know if the right agent for me exists – if there’s a match out there for me!
There have been periods when you have not even owned a camera. Is equipment important to you?
Ever since my introduction to the Quantel Paintbox, I’ve been an advocate of digital technology. My line of work doesn’t provide the means to keep pace with the digital race so I hire equipment to take advantage of the latest advances. The inability to experiment outside of the job lends a sense of urgency to every session. Now I own a
digital SLR my horizons are expanding exponentially. I have been carrying a digital snap camera for the past four years to document ‘touch’, a project that requires no great piece of kit.
How do you see your career going?
There is no pension plan so I don’t see myself stopping until the plug is pulled. In 2010 I plan to syndicate my work
online. To fuel the archive, I’ll be holding open sessions in London and Edinburgh. The prospects of shooting free from editorial constraints, control of copyright and the potential to fund creative projects are powerful incentives. Over time I aim to create an essential cultural archive for picture researchers and editors alike. Also, future forays into film, 2, 3 or 5D, cannot be ruled out.
Is the future for you within a gallery context?
This decision rests with the curators and dealers and is beyond my control. I can only present my work on the Internet and hope that I get some interest. I have a collection of projects that would be fascinating to one day see come to fruition. Meanwhile I’ll continue hanging my work online.
What advice would you have for a young Gavin Evans?
Don’t lose sight and never relinquish your copyright, we’re in this together. Sign up to DACS.
www.gavinevans.com
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