Interview
BS What is ‘Other Small Worlds’ about? What does it mean to you?
MJ Other Small Worlds is a study about finding and searching and also about me as a person. It is a way for me to do two things – to push myself into a way of seeing that did not come to me initially and to hunt for something new. It could be done with some paper and pencil and obviously many, many artists do study this way – I just happen to use a camera. So, if we forget about the camera for a moment and imagine that I am working with a pencil and paper then it somehow becomes clearer in my mind as to why I am working this way – on such a long period with one subject – the reasons that a painter would give would be that they are studying the shape and form and looking deeper into the subject as they are fascinated by it. Nobody seems to question painters studying a single subject over a long period – I don’t quite understand why it would be different for someone using a camera.
BS Maybe because the results from a camera require less intense observation? One shot and you can move on?
MJ. Well, a painter does spend more time working on a drawing than I would taking a photo of course – but if you discount the finished article and concentrate on what the process of creating the article has given to you as an artist – what you have discovered by creating – and how does it make you feel inside – then I would say that both drawing and photography are very similar.
BS. So why don’t you use a pencil and paper?
MJ. (laughs) I have tried! For me photography is easier. It gives me what I am looking for and more – so why try and get the same results using other methods that for me are harder?
BS You have spoken about different ‘layers’ of beauty before – can you explain what you mean by this? Are you talking about peeling back layers as a way to discover?
MJ When I say different layers of beauty I mean layers that allow us to observe and notice beauty. It helps me to think in this way and gives me a more concrete understanding of what I do. It goes back to the process of returning to a single place and studying certain elements over and over again. I think if you visited a place – it could be anywhere – just once or twice then you are seeing things through your initial layer of experience. When you return over and over again these layers are removed as the commonplace loses its interest – the initial beauty that catches your eye – or you could say the more obvious beauty – falls away and you maybe see other aspects that excite you. Then the challenge is how to capture those images in a way that excites you.
BS Some of your work doesn’t actually show the ‘real’ world though does it? It quite often shows the negative of what you really saw. Why do you do this?
MJ Well, I wouldn’t agree that it doesn’t show what I saw. When I look through the viewfinder I imagine the final image and make adjustments to get that image. You could say that a painter’s interpretation of a subject doesn’t look like the real world and nobody would question it – so why is it questioned when a photographer does it? I use the negative of the image because I find that it excites me – the darks turn to glowing highlights and at the end of the day the negative is the actual solid thing that I am left with in the camera. The piece of film is the record of my visit. Displaying the negative as it really is could be more truthful to my photography than inverting it to bring it back to ‘reality’.
BS So layers of beauty are removed with each visit to the beach?
MJ Oh yes, every visit gives me something – even if it isn’t a physical image. Every visit moves me forward and affects the way I see on the next visit.
BS So the photo isn’t always the reason for going to the beach?
MJ It’s a bonus! (laughs). I think that getting an image that excites me is always the goal – and by its nature has to be new and unusual.
BS Why unusual?
MJ I would rate ‘unusual’ over ‘beautiful’ any day – and the ultimate goal would be unusual AND beautiful – when you get one of those then you know you are onto something! And if you can get something that has a certain ‘thing’ about it that you cannot put your finger on – something unexplained or unexplainable then you have every reason to jump around the room. My work was recently described as ‘weird & wonderful’ – that is what I am looking for. Weird and wonderful. (laughs)
BS You mentioned about unexplainable aspects of a photograph. What do you mean by that? ‘Unexplainable’ as in what the subject is?
MJ No. Unexplainable in a way that leaves me wondering why I am excited by a photograph. Is it the tones? No. Is it the subject? No. Somehow the relationship of every aspect of the photo come together perfectly and give an exciting image with no real reasons behind it doing so. It is a mystery to me. I can only explain it by supposing it is the photographer that brings this different and unique element to the photograph and it is this that links the photographer to the viewer. The subject itself cannot give enough to make an unusual photograph on its own – its needs the unexplainable input from a photographer.
BS When will you call it a day at Poppit Sands?
MJ Well, as long as I keep on moving forward I will continue at Poppit.
BS The beach still has something left in it for you?
MJ Of course! I have hardly scratched the surface. It is a massive beach and there are different techniques to incorporate into my work. I recently put the tripod to one side and started handheld shots – it changed so much for me and opened up a new road for me to explore.
BS You have mentioned about ‘dead ends’ before. Is this an essential part of your work?
MJ Yes. I find that I do spend an awful lot of time trying out new ideas. Most of them lead to nothing and waste a lot of time and money. However some just click and find themselves incorporated in my process. I want to change – but slowly. A considered and proven change is the type that I like. Dead Ends are just something that you have to put up with and it is really essential that you don’t play it safe and that you do take a leap into the dark. What is also important though is to know when things are not working so you can scamper back with your tail between your legs!
BS You photograph as your profession. What advice would you give to anyone thinking of doing the same?
MJ Get your finances sorted out first! (laughs) No, I would think that the same advice would apply to someone who wants to be a painter. If that person has it in them they will do it no matter what. I would still do what I do even if I lived in a shed. Maybe I would have different equipment – maybe digital to stop the costs of film, but I would still do it. Ask any serious painter and I am sure they would say the same. You don’t do it for the money. You do it because it is all you really think about – all the time.
