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We were first introduced to Ioanna’s practice as part of a Metro Imaging partnership with the Royal Photographic Society and have since followed her path through the RCA and onto a PhD at Kingston University. To coincide with an exhibition opening in berlin as part of the PEP Photographic Exploration Project, we chatted to Ioanna about her practice and what it has been like to work this year.

We were first introduced to your work via the RPS Bursary Award in 2018 and we have seen your work develop over the years from predominantly documentary (Beautiful Terrible Ruins) into more conceptual proposals such as ‘The truth is in the soil’. Can you talk about your process and how much your work has evolved as an artist?

My photographic practice started evolving in combination with my MA studies in European Urban and Cultural Studies back in 2011. As I was carrying out a series of research projects on urban planning, architecture and cultural development, paired with my background in journalism, I began to work on visual narratives around memory and territory with a focus on architectural ruins and historical landscapes. It is interesting you mention Beautiful Terrible Ruins, which is indeed a predominantly documentary body of work that started evolving back then. For the years to come, I worked on a series of personal projects and assignments with a strong interest in the relationship between photography and global and social systems of power, both in historical and contemporary contexts.

The Truth is in the Soil started evolving four years ago, when the death of my father sparked a journey back home and the exploration of traditional Greek funerary rituals. Portraying my mother as a mourning figure within the social and religious context of my country, and after receiving the RPS Bursary Award, I began to slowly unravel a personal narrative of loss interweaving fabrications of grief in my family and culture. The work is about memory and memory loss and how the two subjects are wholly interconnected when venturing through the experience of grief. I believe that my own practice transformed into a question of becoming through loss and defined substantial part of my approach and style in the process.

Would you agree that your work is quite melancholic in nature, portraying an overwhelming feeling of loss? You also present projects that weave fact and fiction to great effect, incorporating myth, ritual and storytelling into your projects – can you tell us about your inspiration and how you go about researching your projects?

I am always perplexed by how photography as a medium replaces absence with an imaginary presence and how images have the power to make things appear; things that are always deferred and absent others. I have been gradually interested in how the image affirms things in their disappearance and gives us the power to create absence through fiction.

The Truth is in the Soil is a body of work examining grief as an open-ended cultural enigma with both subjective interpretations. I want to talk about what is lost; parts of memories that are reconstructed, just like how an image of a lost person appears in our minds after they are gone. When we look at a photograph, whatever we remember or forget of that person or memory is only ever a possibility, or a fiction, tainted by the information presented in the image. This is how a photograph works in itself; it is in the photograph’s nature to capture what is forever in the future or already in the past.

In a way, these images work as vehicles for mourning perished ideals of vitality, prosperity and belonging, attempting to tell something further than their subjects by creating a space where death can exist. Greece is a constant inspiration and encounter in this work, but the way is depicted is imagined. It is like the idea of the homeland being this place one knows outside of memory, a land of curiosity where death is an encounter through family, religion, mythology and the self.

Education and learning are an integral part of your own practice – you are currently studying for a PhD in Visual Arts at Kingston. How important is an academic pathway for you, would you recommend it to others and do you see it as a prerequisite to having a successfully engaged relationship with your craft?

I believe that writing has always been an integral element for building up my narratives, which perhaps also derives from my background in journalism and cultural studies. Both reading and writing have organically become a part of my creative process, helping me reflect on my concerns throughout the different stages. I might spend months just shooting new work in the field, weeks just looking at it in my studio and an equal amount of time, writing about it in a library. I think all three are in conversation among them and come together gradually when the work is complete. A practice-led PhD provides the critical reflection that allows one to integrate the creative practice in the process and research output. I think the moment ones realizes and embraces the ways they are meant to be working is a key element to their practice. An art school may provide the structure to achieve that but may as well feel limiting in terms of the combination of possibilities one may have access to, at later stages of their career. To me, it is all about constantly making these realizations and acting on them; even when failing, there is a learning. That is what I would call a successful engagement to one’s practice.

How important is print and the physical presentation of your work and in regard to sequencing and how the work is ‘delivered’ does this differ online to physically viewing the works in a gallery setting?

Surely, there is a difference between the online and physical viewing of the work. Each one highlights different aspects and elements. But certainly, the idea of detail and texture is embodied in a physical print seen in a gallery or other setting than on the screen. Especially, when working with textiles or embroidery, I have realized that the tactility of those pieces needs to be experienced in a physical space and from a close distance. The works turn into objects telling a story and it becomes all about the ambiance around and within them. Having said that, with the latest figurative portraits and collage works of The Truth is in the Soil, I tend to spend quite some time for constructing the image before I become familiar with its texture, so, in that sense, my thoughts around the printing and framing come as an ending to the making process, as its closure. Moreover, with regards to experiencing an artwork, large-scale projections of my work during Les Recontres de la Photographie in Arles and in Marrakech, both in historical site settings, have created a captivating feeling and deep essence of the work, even if it was not physically printed. So I think it can all be rethought within different curatorial frameworks.

As consumers of photography we are used to seeing artists work in exhibition and publication. For many the opportunity to have their work exhibited seems to be the thing that happens to other people. You are currently exhibiting with the PEP Photographic Exploration Project in Berlin and from what we see online it looks fantastic. Can you share with us how this came about and also tell us about any new work you might have over the coming new year?

PEP Photographic Project New Talents 2020 is a Group Show taking place between 4-19 December 2020 and 6-23 January 2021 at B-Part in Berlin. My participation was result of an open call. It is definitely good news there can be a physical exhibition. Several of the exhibitions planned, including a solo show of The Truth is in the Soil, at Reminders Photography Stronghold in Tokyo, have moved to next year. However, I was lucky enough to participate in the European Month of Photography with another solo show of this work in Berlin last month. I think we need to be flexible and less demanding of ourselves and the world around us during these strange times. So, as the rhythms are currently slower, I have been making new work during an artist residency I just completed for a month back home in Greece while working into realizing The Truth is in the Soil into a book.

01: Ioanna Sakellaraki, Nyx (the night), The Truth is in the Soil, 2019
02: Ioanna Sakellaraki, Kerostasia (the weighing of death), The Truth is in the Soil, 2018
03: Ioanna Sakellaraki, Moira Thanatoio (destiny of death), The Truth is in the Soil, 2018
04: Ioanna Sakellaraki, Blood of Adonis (death and rebirth), The Truth is in the Soil, 2017
05: Ioanna Sakellaraki, Anaplekte (quick, painful death), The Truth is in the Soil, 2018

From all of us at Metro, we wish you and your loved ones a very happy and peaceful Christmas. 2020 is almost behind us (thankfully) and we look forward to welcoming you back in the New Year.

We are closing at 3pm on Wednesday 23rd December, collections can still be arranged for up to 3pm on that day.

The lab will reopen at 10am on the 4th January 2021.

 

This year has been particularly challenging for us as a company and our commitment to mentorship and supporting the creative community has had to adapt to C-19 protocols. Though face to face and peer workshops have had to go on hold, we have still managed to remain connected to those on the programme via online sessions.

Hayleigh Longman is currently on our mentorship programme in association with Photofusion and we interviewed her about her practice; projects and what it’s like to be working through Lockdown.

1. We first met through our mentorship award with Photofusion, can you tell us a bit about the organisation, what it means to you in being a member and how the invaluable support that they offer has supported your own practice? Also can you tell us a bit about your experience of working with Metro and its Mentorship programme?

Becoming a member at Photofusion was my first connection to a photography community after moving from Manchester (where I studied) back to London. It allowed me to have a space that I could come in and out of for conversation around work, a dark-room, printing facilities and most importantly, support. Moving back to London after being away for four years was daunting especially as I felt I had only just begun and my safety net that enabled my practise had recently disappeared.

Photofusion is an organisation that offers photographic services, works with community projects and also offers support for career progression and educational programmes. The structure that Photofusion offers enabled me to feel more grounded during my arrival back to London. Since then, I have developed a great relationship with the team who have supported my work and helped me strive towards new opportunities. It has led to experiences such as running workshops and curating. All Photofusion members are invited to submit work into their annual exhibition ‘Salon’ which I was encouraged to enter around this time last year.

Following on from this, I’d hit a period of feeling a little lost with my work and to my surprise I was offered the Metro Mentorship programme, which couldn’t have come at a better time. My welcome to Metro was extremely warm and my mentors took into consideration that I needed development to enable me to think about my practises’ next steps. Despite being a little different than planned due to this year’s challenges, my mentorship programme has been a great space for me to voice any questions about new opportunities and seek advice on things. I have been really grateful for Steve’s support.

2. Your subjects work on many levels and you manage to create a balance between self-deprecating humour alongside meaningful engagement of challenging subjects. There is also an honest expression in your work which is often autobiographical – how do you manage your own and others expectations on how it is responded to?

Thank you for the compliments on my work. Firstly, I think balance is an interesting word as I find myself making lots of autobiographical work and sometimes I make myself believe that I have lost balance, so I then feel the desire to make lots of other work. This might not be a functioning way to work for most, but it’s almost like I expose myself a lot in my personal work and then I suddenly need to shy away from it again to be able to process what I have created. How I respond to the work sometimes helps me tune out to expectations of how other people will respond, but of course I am always apprehensive especially when the work is about me. O nce I have made something new or trying to get feedback, I will usually send what I have created to a very small number of people, such as my old tutor or a friend who has followed my work as it’s progressed and understands the way in which I work. I try to do this in small quantities as I find that sometimes when I get lots of feedback, it can be too overwhelming and I struggle to put things into action.

3. Over the last year you have had a fantastic trajectory with your practice – you recently undertook a Lockdown commission for the Wellcome Trust amongst other things. What has been your experience of having so much pressure thrust at you in such a short time and having to learn to work as part of a team rather than as a lone wolf. Has this influenced or affected your practice in any way? If I am honest it’s been one of those experiences where you learn as you go. At first I was overwhelmed with the offer to work on a commission during lock-down as I had gone from keeping myself busy on my own account to suddenly having a deadline to work towards.

It definitely put a spring in my step. However, with it being my first commission a lot of the process was new to me and I felt a little alone with that. As everyone collectively was suffering through the pandemic and the restrictions it was causing us, I felt shy to ask for support about certain things which in a way threw me in the deep end and as a result of that I learnt a lot. I believe this has broadened my perspective on the way I work when it isn’t just me working on my own account. The pressure of deadlines, the opinion of editors, working for a client all those things that you don’t really know how you personally collaborate with until you’re given an opportunity to. You almost get to see a totally different side to your working self when you are put to the challenge and it made me realise that I know a lot more about the way I like to work than I thought. I am of course super grateful for them too and I try to take at least three positives away from each new experience. I feel there are things that I would change when or if I get the chance to work on another project, but i guess that’s all part of it. This whole experience has made me value my personal work in a different way and has also made me consider the time you can put aside for your personal practise as well.

4. You have recently revamped your website https://hayleighlongman.com and in addition to your own online and Social Media presence you have recently undertaken takeovers for both the Photographers’ Gallery and Photoworks – there are some that say that takeovers are just lazy marketing, but as an advocate for these collaborations, what is your position on this and the value of connecting via a partner organisations community? Would you recommend it? It was about time I updated my website and thought lockdown was a good time to do that. The takeovers have also been a good way to share the work on different pages to a varied audience. Wellcome set-up what Photoworks one, and I set-up The Photographer Gallery one personally. So it’s been interesting to see the different responses from the different organisations. Many platforms use takeovers because it’s a great way to expose work to a new audience. The value of this especially at the moment is that everything is digital and it’s a good way to start a relationship with an organisation. It might not be an immediate contact but if you have been given the responsibility to take over their feed for the week, it shows they have some interest in your work. It works both ways as it gives platforms content and an opportunity for their own community to grow. I do fear that now the work has been shared on more than one platform that it has decreased the interest in the work. I can definitely understand why people may not want to share work in this way, but I think for those trying to spread their work then it’s definitely a good tool to do so.

5. We are living and working through unprecedented times and your ability to stay focussed and engaged is an example in perseverance. What advice would you pass on to others who are coming into the creative industries at this time? Thank you so much, Steve. My top advice for people entering into the creative industry at this time would be to be mindful of how we are judging ourselves in regards to our practise. Some people have been able to make work in this time and others haven’t and that’s ok. It’s normal to be feeling a little demotivated right now but also remind yourself that your practise is there for those times of need as well. My first commission came quite late after graduating so don’t compare yourself to other peoples journey’s because it will happen if you keep at it. Talk to as many people as you can about ideas and work just to keep things ticking.