Between 1996 and 2017 John
Peter Askew stayed regularly as a
guest with the Chulakov family in
Perm, Russia and enjoyed making
photographs all the way. Recently
John had an e-mail conversation
with fellow London-based artist,
Harry Pye. Now read on...
How much do you love your camera
as an object? And how long have you
had it?
My first camera was a 21st birthday present
from my father. A Pentax MX. Sometimes
presents can be things that you don’t really
like or want but I remember treasuring
this. I remember taking some photos of the
steep steps in Newcastle leading down to
the quayside. At home, I made a picture of
a floral patterned waste bin in a flowerbed.
There was also one of my mum and dad
in bed on Christmas morning. It didn’t
come out quite right as the light got into
the back of the camera and distorted the
colours. That fascinated me. My father was
drinking a cup of tea while my mother
read from a book by Alison Uttley. My dad
was half in and half out of the light.
I’m a person of habit and still use the
same camera today.
Is it perfect?
John Peter Askew. Woman and Spring
Blossoms
Well, a treasured present from your late
father cannot but be imbued with a special
weight.
But that aside I think a camera is a near
perfect machine. Not least because of its
magical qualities: a machine that captures
light and returns us a moment forever.
What drives you to take photos?
I remember when I first started making
photographs in the 1980’s how I used to
wait with great anticipation for the box of
transparencies to be pushed through the
letterbox by the postman. How excited I
was when it finally came. It was like opening a box of exquisite treasures or jewels.
But more so. In that small box of captured
light I found a world that rang true.
Is it a desire to own or preserve or capture
something?
Perhaps. Susan Sontag writes how a photograph
touches her like the delayed rays of
a star. My mother once told me that when
they were courting my father would get
her to pose for an eternity while he photographed
her. Each time he would carefully
measure the light falling on her face with
his hand-held meter.
I remember a photograph of my mother
leaning up against a tree, her curly red hair
falling to her waist. Her bright eyes full of
expectation. Towards the end of my mothers
life we looked for the photograph together
but couldn’t find it. My mother recalled
how she and my father were out walking
in Horsham Wood and she was wearing a
pink checked skirt and a yellow jumper she
had knitted from fine wool. I remember my
mother turning to me as she told me that her
hair then was quite short and that I’d mixed
the photograph up with another where she
is a child holding her sister’s hand. Here her
hair, she said smiling, is nearly as long and as
beautiful as I remember. What are the limitations of photography?
John Peter Askew. Ginger Cat
The limitation of photography lies in its
mercurial qualities. But herein lies it’s fascination
too. The naming of photography
was a matter of intense debate amongst the
early practitioners reflecting their doubts
over exactly what the process was. It’s
impossible to take photography apart like
a soldier dismantles a rifle. One hundred
and ninety three years later photography
remains as strong an enigma as ever.
John Peter Askew. Man Riding a Bicycle
No matter how you twist and turn a
photograph has something to do with
revelation. It fractures the shell of our
perception and fixes a moment with singular
clarity. A disturbing clarity that is at
odds with our perception of time space
and mortality. A photograph threatens our
rational world and we cope by pushing
it’s intractability into our subconscious. If
the photograph was still only a novelty,
or viewed as a treasure - as its uniqueness
demands - no harm would come from this
evasion. Instead the overbearing presence
of photographs and the relentless consumption
of them means we evade its inexplicable
nature at our peril. I wonder if this
explains the tiredness I see in peoples’ eyes
and the inexplicable sadness that I feel.
The ontology of photography is so complex
that I try to pair my work down in
an effort to get at its essence. I want to
achieve a quality of stillness drawn to Luc
Tuyman’s insistence that “pictures if they
are to have an effect must have the tremendous
intensity of silence”.
What frustrates you about the work
that you do?
That I’m a perfectionist. The simplicity
that I strive for in my work is paradoxically
only achieved by great endeavour.
A few months back I went to the
launch party of your book, “We”,
at The Photographer’s Gallery. Your
book features 164 colour photos that
you took whilst in Russia between
1996 and 2017. If possible, could you
select three of your favourite photos
from the book and say something
about them?
It’s difficult to single out three photographs
from the book. My ambitions for We are
not immediately legible in any single picture
or small group rather it builds incrementally
through each image and cumulatively
through its extended timeframe.
John Peter Askew
“We”, as a title, refers to the subject, the
photographer and the viewer. It’s inclusive
and expansive. “We” holds the idea that
although the photographs are particular,
being about a single family, the Chulakovs,
my intention is that they hold wider resonances
that touch on everybody.
My work stems from a belief in the
importance of tenderness and kindness
in our interactions with the world,
coupled with political conviction that
we can create a better one. In picturing
this we bring it into being. I hope
my pictures ask a question: “How is
this world [pictured] different from our
own?” Playfulness or play is a recurring
motif throughout the book. As
it is in play, everything I picture is an
end only to itself. I want the picture
to be unambiguously about the cat,
rather than being a sign or a symbol for
another thing. Barthes believed that “In
myth...I speak the tree, I do not speak
about the tree”. The photographs should
show things in their best light, whether
it be a person, animal, plant or object.
I have no inhibitions about producing
beautiful photographs because the
beauty of the everyday and the commonplace
is antithetical to the individualism,
excessive wealth and the consumption
that drives and blights our lives. In some
way I am interested in re-enchanting the
world.
The first picture is of Anna Kligman
[née Chulakov]. Anna wrote a text for the
book which concludes with:
“It is an exciting, interesting and even
mystical sensation, to know that there is
such an observer to your life. To be part
of this process is very valuable to me. And
every time I look at these photographs I
feel joy, seeing how beautiful life is in every
moment! This is a great gift.”
The Chulakovs have become family to
me, and they joke that I am relative who
lives in London rather than St Petersburg.
They always have a vacant bed in their
home, a seat in the car and a plate at the
table for me. I have a place in their lives;
a role in their stories.
The heart of my work lies in our friendship
and shared journey through life over the
last quarter of a century, as much as in the
photographs themselves.
https://www.kerberverlag.com/en/1658/John-Peter-Askew
HARRY PYE
is a writer, curator and painter who lives and works
in London.
See also his postcards from London, São Paulo and
Leeds in previous issues of Epifanio.
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