Visual explorations of sexuality, empty rooms, abandoned businesses, old newspapers on a wooden floor – photographer Kate Peters continuously brings absences to the fore while examining what society defines as its outskirts. Those absences in the social landscape are manifested as vibrant by Peters’ lens; the viewer cannot overlook their undeniable presence which does not aim at erasing their anonymity. Their presence and absence from society’s focal point co-exist.
Peters is a British photographer, currently living and working in London. Since 2002, she has been taking part in exhibitions and publications, in addition to receiving several awards. Here is what she has to say about her work process and inspirations:
What was the first image you ever took?
The first image I remember taking was of a fork. I was trying to imitate the iconic Andre Kertesz image, La Fourchette, a photograph of a fork resting against a bowl and its shadow.
I’d just started studying photography at school, I was about 15 years old. I used to spend a lot of time, sneaking a look into my photography teacher’s book collection, which was locked in a cupboard. I would try and recreate images that stood out and the Kertesz image was one of my first attempts. It’s a far cry to what I produce now but remains one of my favorite photographs.
All Images are Courtesy of the Artist / INSTITUTE
Why did you want to become a photographer?
It was a simple decision really, my photography teacher at school was great, very inspiring and supportive. I kind of wanted to be like her.
She gave me confidence in what I was producing and I enjoyed the process, the experimenting, the surprises. It seemed natural to carry on doing what I loved so I decided to study photography at University and have just never stopped.
What is the most difficult thing for a photographer in this day and age? What do you hate the most?
The industry is saturated and it’s difficult to break into. I think the internet, whilst opening up countless opportunities for photographers, has created new challenges. It seems to have made self-promotion something of an obsession. A website is no longer sufficient, you need a presence on twitter, a blog, a Facebook page, it all becomes a bit too much to handle and doesn’t necessarily come naturally to everyone. It’s good to step back every now and then and remind yourself what you love about photography and why you started doing it in the first place.
What inspires you?
It sounds a cliché but I take inspiration from anywhere and anything. I have inherent themes in my work, which have gradually manifested themselves without me really realizing it. Curiosity in these will be sparked by a chance encounter, an article, a walk, a book, anything really. Something will say, ‘yes that fits with what I’m about, with what I want to say’ and I’ll go from there.
What kind of music do you listen to when you work on your computer?
I have wide musical interests, which is pretty mood dependent but during the day I normally listen to the radio, BBC 6 or BBC radio 4, to keep in touch with what’s going on in the outside world. Though I do like a bit of northern soul or a Gaz’s Rockin’ blues compilation to liven things up a bit.
What was the last photography book you’ve read?
I managed to pick up a signed copy of Mark Steinmetz’s South East at the amazing Ivory Press Art + Book space in Madrid.
I love Steinmetz’s work, he really is a master of portraiture, so natural and honest it seems so effortless.
I was also recently given a copy of Haunted Air, a collection of anonymous Halloween photographs from America between 1875-1955, which viewed out of the context of the family album is an extraordinary anthology.
Who are your photography idols?
The first photographers I remember really appreciating were Robert Mapplethorpe, Joel Sternfeld, Mike Disfarmer and Sophie Calle to name a few.
I still go back to their work in awe. They all possess an ability to provoke such strong emotional responses in such different ways. It all seems very honest, a real reflection of who they are, and I admire that.
What can we find on your bookmarks?
My bookmarks bar is a mess, I use it like a notebook, filled with things to remember and go back to at some point, which inevitably get lost as I add more ‘notes’.
The 3 most recent additions are Institute Blog – I have just signed with them for artist representation. Fotovisura Grant – Need to see if this is something I might want to enter. Carnal Knowledge – Need to remember to buy the book!
What are you working on now?
I’ve been working on a long term project for the past couple of years now and it’s nearing completion. It’s a series looking at the world of female dominatrix.It started when I was photographing another portrait series and by chance met a Dominatrix. I was intrigued so started investigating. I am interested in challenging traditional representations of women and exploring alternative roles of women in contemporary society. I am fascinated by the way participants are able to enter an alternative reality, to step into a role, the same way an actor takes on a part. The portraits of the women have led me to explore the ‘slaves’, men who pay for sessions with the Dominatrix, and to the interiors where these ‘scenes’ are played out. I have a few more avenues to explore with this but I’m hoping to compile it all into something tangible soon.
What are your favorite blogs?
There are a lot of good blogs out there that I try to dip into every now and then.
Flak Photo is great, I’m a real admirer of how Andy Adams, the sites creator, is so passionate about promoting work and creating debates on many different aspects of photography through his many online ventures.
Another, relatively new blog is Harry Hardie’s Here. Harry is someone else who is hugely passionate about the medium and puts out some interesting and exciting projects.
For a great photobook blog, take a look at Claxton Projects too.
