Illustration by Lola Fleming.

Originally published in print November 2020.

 

What inspires your photography most?

 I think before COVID it was definitely travelling and experiencing new surroundings completely different to my regular day. When I went to Boston on my exchange last year, that was just the most incredible gift for a photographer because it was just so much fun. I really feel inspired by street photography, especially that weird crazy kind of atmosphere that you’re just not used to. Seeing all these things that you don’t normally associate with your regular life and these small and peculiar moments that make no sense. And so, those kinds of moments really stick out to me. On a more personal basis, it’s kind of grown into something a bit more personal because it used to be quite like you know street photography, which was personal, but it was less direct if that makes sense. With street photography, I think it can actually be really personal, but when you take pictures of more sentimental things then obviously it’s far more directly personal, just because I have been kind of drifting in and out of those two things at the moment so that’s what inspires me. My friends inspire me because we’re always together taking photos and learning from each other and hyping each other up and also just, you know, photographers who I see myself in in their photos. Photobooks as well; all these different things. I try to stay off Instagram a little bit just because I’ll start comparing myself and doubting myself so there definitely has to be a balance in terms of where you find inspiration online because sometimes they [social media platforms] can lead you to comparing yourself.

 

What challenges, and potential innovations, have you experienced during lockdown, that have influenced your art?

Challenges definitely would be restricted movement and not being able to meet up with people as much because  a lot of the photos I was taking were of people. With street photography, it completely changed, well not completely, but to a certain extent, so we did find it really hard at the beginning. I found it harder in the summer and that’s why I started doing  my own projects because I felt like I wasn’t getting what I wanted out of photography anymore. I felt that I was able to come up with an idea that I could make my own and have a project, so that was definitely how we overcame that, but now I’ve gotten back into a photography slump again because of another lockdown. It has been really hard because it is something that I really rely on too. It’s good to have that outlet of photography  and it’s difficult not having that thing that gives you relief from stress. I’ve just tried to find pockets of weird places or really different landscapes around Cork and Dublin because it’s where I’m based. I’m growing into it now and I’m actually working on small little photo series as well. I think in terms of where I found inspiration, you just have to find it in the way that you live your life and all those things that are in your life that maybe you take for granted.  Turning them into photos  helps me stay inspired by going back to what makes me me and what makes my life my life. I think it’s always a really good way to go about it if you’re finding that you’re just not getting what you need out of  photography, considering what’s happening in terms of limited contact, streets being deserted, etc. I feel inspired by being around my friends and being around people and the Dublin film community and going on photo walks and  just talking about photos. Even on YouTube, there’s a lot of really great film photographers  and it’s really nice to see.  It’s quite  innovative as they’re trying to adapt their channel to what’s happening and it’s hard for everyone so it definitely has been affected. Even film prices have gone up and trying to get your film scanned and all these things is becoming more expensive and more inconvenient so there are a lot of barriers. I definitely just try to channel who I am as a person and what I experience to kind of fill that void.

 

What advice would you give to any younger or less experienced photographers looking to carve out their own style?  

Carving out your own style is a really interesting question. I definitely think it takes a couple of rolls, if you’re shooting on film, to develop some sort of style and how you see. But I think style kind of comes naturally and I think it’s all about just practising and taking shots and making an effort to go out and find those things or making an effort to actually bring your camera along with you. But also if you’re getting into film photography, just take some patience too because it’s not easy. It takes a while to get used to buttons and lights or light metering and film stock. And it’s expensive, so you know it all just takes some time. It definitely comes with some patience and just really going for it too! Genuinely, go for it and I don’t let things hold you back, like if you don’t think you’re good enough or you’re comparing yourself honestly just go for it. It’s about letting yourself do something really and not giving a **** what anyone else thinks. Doing it for yourself is going to develop your style and it’s just all about practise and getting to know what film stocks you like using or if you are more of a composition person or a colour person. Don’t be afraid to reach out for help or advice because so many people want to help and no one, well not everyone, but a lot of people actually aren’t gatekeepers of that kind of knowledge and do you want to help other people. Definitely linking up with people around your area who may be interested in photography, definitely getting involved with those kinds of people is the best thing you can do as well because then it becomes more than just you taking photos. It’s building a community around you and also just having fun and meeting new people.  

 

Do you ever find it hard to make time for your hobby, especially as a student in final year? If so, do you have any tips for staying in touch with your artistic side during times of social or artistic isolation? 

I find it so hard to balance doing photo bits and final year because college is so stressful for me all the time. With photography though, it provides me with that relief of stress and so it does really help. I’m not doing it as much as I’d want to as I’m constrained by college work, which really does affect it unfortunately. Over summer when we were in lockdown, I couldn’t really get a full-time job, so I turned to film photography and it was the best thing ever. I was always taking photos and it felt really good to take that many. It was like this is what I want to do all the time, regardless. It can be really really hard and I mean I probably should listen to my own advice because, in terms of balancing any kind of hobby, there’s obviously some time you’re going to have to sacrifice a little bit to get through your degree and get what you need and want. But then, there also comes a time where you need a break in order for you to be really productive the next day or the next couple of hours. So taking a break using your hobby is probably the best way to do it. It’s all about balancing things out and making time for it and planning in advance, if you can. To be in touch with your artistic side, I definitely think you could buy photo books or buy a sketchbook, look at photos and really immerse yourself in one person’s art or get a sketchbook and even just draw out how you’re feeling or visualising things. That’s something I’ve actually started doing recently,  journaling with visuals and showing how I’m feeling with visuals. It makes me really stay in touch [with my art]. It’s exciting because I used to draw all the time and then I stopped, so it’s really nice to do that again. I do think it helps with photography because it stimulates my brain a little bit and means I’m not just looking up stuff and doing my coursework. Breaking up this medium is really good for me and I’ve actually only recently learned that!

 

Can you tell me a little bit about your recent exhibit “Queer Hearts of Dublin”, and what that work meant to you?

For “Queer Hearts of Dublin”, it was kind of a thing where when I went away on exchange, I really was separated from a queer community that took me a very long time to get into and feel comfortable in. So when I came back from Boston and then had to be locked down in Ireland, by the time I could get to Dublin, it was July and coming back was very much me trying to connect back to that, and that’s where the whole inspiration came from. Just wanting to tell the stories of the real people in the queer community, rather than the same kind of hegemonic image that we all associate with it in Dublin. So it was just an opportunity to connect myself to new people and the existing people that were in it that just weren’t getting that platform. It meant a lot to me. It was really personal and it changed a lot of things for me which was kind of crazy. It was just really good; I got so much out of it, I just went and did it. I didn’t expect anything from it. I don’t even know what I was really doing. I was just kind of doing it and not thinking about it, and I think that’s almost the best way to approach stuff like that. If you think of an idea that you just really like, you’re not going to be motivated by anything else but your love to tell that story or that idea. So yeah, it meant a lot to me just to hear it helped people or educated people. It was such a great opportunity, and though COVID obviously has been a bad situation, that wouldn’t have happened if the pandemic didn’t happen either. So, even though I missed out on a lot not being able to stay in Boston, I definitely gained something as well by coming home. It’s kind of like, if you have an idea just  go for it, why waste time? If you feel like you can do it then do it if you have the resources, and if not ask people and reach out.

 

Many artists look to physical and geographical spaces as their muse, would you consider Dublin, or even Trinity, to be such a space to you?

I do consider Dublin to be my creative muse sometimes. It kind of has to be for now because of lockdown, which is interesting as it means you have to find where you can bring out your creativity in the place that you’re in no matter what’s happening. But it is really difficult for me because I don’t particularly find Dublin, like the landscape and stuff, that inspiring. But there are pockets of areas in Dublin that you really have to dive into and try and bring out what you’re trying to show or communicate or express. In terms of Dublin being a muse, as a creative scene it  100% is. I’ve met so many people in Dublin who are photographers, film photographers and I’ve just learned so much from them and made friends with people. You know it’s really bonded me with people who I know, so then they inspire me through that, and we get to do little trips in Dublin or little photo walks. So in that way it kind of overlaps, but I wouldn’t say Dublin overall is like a creative muse in terms of where I want to be. I would ideally like to be somewhere else where it’s a little bit more like a city that’s really crazy and has a lot going on and a lot of inspiration—if that makes sense.

 

Finally, who are some artists – unknown or celebrated – who you look to for inspiration?

Some of my favourite photographers are, obviously, my friends and other people in the film community. There’re so many incredible people in Dublin that you could check out but, outside of that and on a bigger platform, one of my favourite photographers is called Lauren Tepfer. She’s so amazing and she has a very dreamy kind of style and it’s really me. It’s like my photos in different ways; she has such an eye for colour and I love exploring colours. She has some incredible shots that I just cannot get over. I’m like, how is this even real? How did she do that? And she shoots on digital, which is amazing. Even just music inspires me, listening to artists —everyone knows I’m obsessed with Clairo— and stuff like that. How music can make you feel; I sometimes channel that into a landscape or what’s around me and I did that a lot when I was over in Boston. I was always listening to music and feeling that stimulation of being in a place. What you’re feeling, what’s going through your head and what you’re listening to, it just really comes out in your photography. So yeah, I think  listening to music really helps me and watching music videos. I love watching music videos. There also is this amazing film fashion photographer and he is…I can’t remember his name. He’s really amazing. He’s a Black man and he’s located in America and he’s a fashion photographer but he’s insane. He does these crazy images, the angles he takes…he just adds something completely new and different to regular fashion photos and I think it’s absolutely stunning. I know his first name is Cameron (Cameron Reed, Camsvisualart) but I forget his surname. The last person that I really love is Helga Paris. I don’t know if she’s alive or dead, but she was taking photos back in the 60s in Germany in her hometown and I saw an exhibition of her. I never knew who she was before that. It was in Berlin when I was there last Christmas and it was so beautiful. It was all these small moments within her community and there were people and so much emotion. It’s all shot in black and white and she’s really inspiring because a woman at that time with a film camera was probably absurd. Women barely even had rights back then, and we still lack a lot of them now, so she is really inspiring to me. I really love her photos and there’s something completely like…you can’t even explain how moving they are, if that makes sense. So a lot of female photographers inspire me because I think I just see myself in their photos a lot.