Sally Waterman, is featured in the book, 'Shifiting Horizons, women's landscape photography now'. Whilst writing my dissertation, I came across the work of Sally Waterman. Her work covers various personal projects, including projects titled : 'Making the mark' 2004, 'Waste land' 2005-2010, 'The waves' 1996, 'The other side of the mirror' 1999, Forest fears V11 'In the wood' 2000, 'Turn of the screw' 2001-2007, 'Three sisters' 1997.
The project titled 'The waves' ,for me was extremely interesting and not only seemed to help me in my research for my dissertation but also I feel, really fits this brief.
The images are 12x 16' Black & White, with hand written quotations written underneath. There were 28 produced in the series.
The written quotations are taken from the book:
"Now is life very solid, or very shifting?" (Virginia Woolf, Diary, 1929)
I have read the book 'a rooms of one's one' (Virgina Woolf) and used parts of the book for research for my dissertation, so it seems a real connection, that Waterman had used quotations from her diary to use with her images. By identifying with the language Woolf uses, Waterman manages to make a visual connection, using her own experiences as a child and the dreamy nostalgia this conjures. By using different characters in the images to apear as her, Waterman can make also make a personal connection to the work she produces.
The words under the image read: But look! - There is my body in the looking glass. How solitary, how shrunk, how aged! I am no longer young. I am no longer part of the procession.
I really value the connection, Waterman has made with the creative text. The image has a slightly ghostly feel, made more apparent by the moving figure pictured in the mirror. The unusual composition , helps the viewer understand more about the object being photographed, this not only adds to the mood and feel , but gives the overall image an added depth. The words used underneath the image, explain how the photographer feels about ageing, as she is looking back at the aged, older woman she has become. Does society portray youth as attractive? Do older mature individuals feel as if their time is up, and society has no use for them, as being tossed onto the scrap heap of life? Does waterman feel like she is no longer part of the 'procession' ?
Many arguments can arise, just by focusing more on the creative text, however the image gives visually a deeper language to the creative text.
The words underneath the image read: I like the passing of face and face and face, deformed, indifferent. I am sick of privacy. I ride rough waters and shall sink with no-one to save me.
The last sentence "I ride rough waters and shall sink with no-one to save me". I feel many viewers could relate to to these words, just as I have done. The image has a very modern feel and a subject matter that doesn't seem to be an obvious choice, to use in respect to the creative words.
The words underneath the image reads : The soundless flight of upright bodies down the moving stairs like the terrible descent of some army of the dead downwards, made me cower and run for shelter.
A very dark meaning behind the creative text, really is thought provoking. The photographer has a been a modern connection with the words "like the terrible descent of some army of the dead downwards", using an escalator in which people are passenger's, almost lifeless in their persue of their monotonous journey. Is the female in the story a representation of the photographer? Her glance looking outwardly, as if she is lost. The man glancing straight at her, but the girl fails to notice or isn't interested, perhaps there is a far more important pressing matter, that consumes her mind.
The words underneath the image reads: I attach myself only to names and faces and hoard them against disaster. Therefore, I hate looking glasses which show my real face.
An amazingly, creative composition is created here by Waterman in the above image. Waterman uses a small piece of glass, as a mirror looking into a soul, could it be her soul? Is this a self portrait ? The viewer is taken on a creative journey , an imaginative gesture of the hidden depths of many a mind and consciousness. The above image is beautifully constructed , leading the viewer onto a deeper journey. The selective focus on the face in the mirror really adds to the atmosphere and for me completes the viewers journey. I don't think on reflection , the focus on the foreground would have helped to understand the full meaning behind the creative text.
The words underneath the image reads: There will be no reflections in window-panes in dark tunnels. I shall look into faces and I shall see them seek some other face.
The words underneath the image reads: Blue waves, green waves swept a quick fan over the beach. One after another they massed themselves and fell, withdrew and fell again.
The above image can be found in the book 'Shifting Horizons'. The words suggest a rainbow of colour, 'Blue waves, green waves' However Waterman chooses to photograph in black and white, why? Perhaps it gives more meaning to the overall image, more depth. The composition is simple but has an effective way of drawing the viewer deeper into the image. In doing so, it could be argued that the image has a nostalgic feel, as if Waterman was capturing a memory. Therefore, the use of black and white might be seen as a better way to portray this.
The words underneath the image reads: These roaring waters upon which we build our crazy platforms, like a long wave, laying bare the pebbles on the shore of my soul.
The words underneath the image reads: Like a cork on a rough sea. The wave breaks. I am the foam that fills the uttermost rims of the rocks with whiteness. And I have no face.
The words underneath the image reads: I came to the puddle. I could not cross it. Then, very gingerly, I pushed my foot across. I returned very painfully, drawing myself back into my body.
The most interesting part of the above text is, the last sentence : 'I returned very painfully, drawing myself back into my body'. Perhaps Waterman is hiding a fear and the fact the text describes how she couldn't cross the puddle, could mean a personal problem, which she finds difficult to overcome.
By using the above text, could Waterman be sharing her fear with the viewer, or could the viewer relate to the photographer on a subconscious level. Everyone has problems in their life, be employment, money, health, relationships, confidence etc. Perhaps the puddle is a metaphor for the problem as a whole.
The text above the above image reads: Shall this be the end of the story? A kind of sigh? A last ripple of the wave? It is over...I do not know who I am.
I feel the words need to be read a few times, to fully understand the text. Could the man in the image be a representative figure of the photographer? The lone figure walks steadily towards a building, what is that building ,has it any significance?
The light shinning through the building, floods the composition and really adds to the eerie atmosphere. Perhaps at times during our lives we feel lost and lose sight of what we are trying to achieve, our morals, ourselves...
I really like the fact that all though water is mentioned ( A last ripple of the wave?) there is no sign of water, a river or a lake. This suggests that this could be a metaphor and the main emphasis is on the lone figure , perhaps the end of a life ? A lonely ending to an illness?
Sally Waterman has been a major inspiration for me, with regards to this brief. I feel drawn to the creative compositions and really feel the text underneath the images gives an extra strength and depth to finished series of works. For me, I don't feel that the series would be as strong if the creative text wasn't displayed underneath the images. The wording gives an extra dimension to the images and allows the viewer to create a stronger deeper connection with the photographer and the photographs.
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