Spencer Murphy’s photographic work lies between the edges; of geographical locations, epistemological conditions of the mind, political extremities and imagined landscapes. In the midst of these emerges his gentle, almost empathetic portraiture. This photographic signature may relate to his childhood in the Kentish countryside, which he describes as relatively isolated. That sense of isolation is evident in many of his projects, which include contributions to numerous publications and magazines, as well as exhibitions and awards. Here is how he relates to his practice and inspirations:
What was the first image you ever took?
I find it hard to recall the first image I took, but I can remember a roll of black and white film I shot when I first started photography as a hobby. My Mum had introduced me to it and given me a hand-me-down SLR. I remember shooting this roll and there were the usual sorts of thing; pictures of my feet, a pair of my neighbor’s Doctor Martin Boots, looking up into a telephone pylon. Nothing special but it was enough to spark a real enthusiasm within me.
All Images are Courtesy of the Artist
Why did you want to become a photographer?
At first, I think it was a love of nature and travel. I had always poured over old issues of National Geographic and Time Magazine that I’d found in the loft. It was the pictures that most interested me, the way a single image could be so packed with information, all the emotion and mystery of a person or a place in a far off land. I wanted to be able to do that. Even today, it’s the story telling that drives me to work most.
What is the most difficult thing for a photographer in this day and age? What do you hate the most?
For me it has always been an issue of money and being able to afford to make the work I want to make. Now so more than ever, photography is so over-saturated with people wanting to do it and it has become more accessible since the arrival of Digital Photography. This seems to devalue what we do as photographers.
Hate is too strong a word. There is a lot I don’t like about trying to be a commercial photographer, it can breed very competitive/defensive people and it’s hard not to fall into that trap yourself because of the amount you give up in order to to be a photographer. It’s hard not to be cynical but I try to remind myself why I do it and what the alternative would be.
What inspires you?
Film has been one of the greatest inspirations in my life. I grew up in a very isolated part of the countryside. So the escapism that film offered me was addictive. I think it also gave me a good guide for visual storytelling. Similarly, because of that same upbringing, nature and the outdoors has been a massive inspiration for me. Growing up surrounded by woodland and farmland nurtured a healthy imagination that has fed into my work. That of course apart art, music and good stories.
What kind of music do you listen to when you work on your computer?
It depends on my mood really, but these days I tend to listen to a lot of very cinematic electronic music, soundtracks and some classical music – mainly piano sonatas.
My most listened to artist is Hiatus, who happens to be a good friend and I provide all of his album artwork.
What was the last photography book you’ve read?
Well, I’m in the process of moving house at the moment so I’ve been flicking through a lot of old favorites. The last books I brought though were Alec Soth’s Broken Manual and Rineke Dijkstra’s Portraits.
Who are your photography idols?
Joel Sternfeld and Alec Soth. I saw the exhibition of Joel Sternfeld’s Stranger Passing when I was still a Photography student. It had a profound effect on me as I had just brought my first medium format camera and was traveling through America, days after September 11th. It was a strange time to be traveling there and I had barely spoken a word to anyone in weeks. I saw the exhibition at the San Francisco MoMA and after that I took to the streets photographing people.
Alec Soth’s Sleeping By The Mississippi is so lyrical and has such a sense of poetry. It was the first time I’d seen photography that spoke to my sensibilities but with no real theme linking the images, beyond the path of the river. The way the images are edited and flow of one another in the book so beautifully reflects the idea of a river flowing past these moments that are beautifully frozen in time by Alec Soth’s camera.
What can we find on your bookmarks? How do you choose your favorite bookmarks?
My bookmarks bar is like an old sketchbook, hidden away in the bottom of a drawer. Every now and then I’ll find it and flick through with nostalgia and maybe even add to it but in the end I put it back in the drawer and forget about it.
What are you working on now?
I’ve got a few projects on the go at the moment. One is a documentary project about Coal Mining in the UK, which I am still trying to get started.
Another is called The Outsider and is about individuals and groups that exist on the outskirts of British society.
This might become part of a bigger project called The Abyss Gazes Also Into You. If it works this will be the culmination of all my work to date as well as something deeper and more philosophical that I bring to it.
What are your favorite blogs?
Its Nice That, Flak Photo and Conscientious- all of them are fresh and insightful and have a high standard of content.
