Lee Davidson Connor is a documentary photographer based in Glasgow. His passion for photography drives him to produce personal work that tells a story, creating stories and memories for people. Here he explains his ongoing Makers Photographic Project.

Bakery 47

Trakke

Makers began at the beginning of 2015 as a personal photographic project. The project evolved from my interest in documenting the personality of crafts people within their studio environment. I began producing similar work while studying at University in 2013. I loved the process of meeting these people who are passionate about their craft, chatting about the industry and what makes them love their discipline. Through out university I produced similar works to this, one being Artists’, a series that is ongoing to date. When you involve yourself in an industry you realise how much creativity is alive and growing in Glasgow.

Misa Kanno

Misa Kanno

Apo Design

For me photography is finding a subject that is full of potential, the environment is just as important as the person. I found that the maker fits with their personal surroundings. When I create images I look for a story, I walk into an opportunity and within a few seconds I will know if the photos will be a success or not. Photography is a very personal discipline, from what equipment you use to how you approach your subject. During my further education I was taught to produce each image like it was the last one, so getting it right on the camera was crucial. The story aspect relates back to the photographers I research and the documentary books that I have today. After university I evolved my skills to cover wedding photography, carrying over what I had learned and applying to a very different client. The pace of conducting a wedding is a real contrast to working on the Makers project. I always aim to have a personal project running while working on wedding photography. Personal work allows me to evolve my skills, to later apply them to other work for clients.

Alison Mcleod

Wingnut Art

My Makers project is ongoing and I am keen to add work to the current series. I aim to hold an exhibition for the final set of images, I will also create a magazine styled photobook for my portfolio. All of my work from Makers can be viewed through my Tumblr Blog.

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Working with a camera it can be all to easy to subsume yourself in process, the logistics, the mechanics, the chemistry, the alchemy even. By virtue of its documentary function it can provide itself with an excuse for its own making, after all, in a world where things are there to be photographed, the camera mimics our voracious appetite for consuming, recording and ultimately classifying things. Photography seems to epitomise process, a linear progression of selection, capture, processing and presenting. Self contained, hermetic and composed. A photograph is self-explanatory, it’s reason for being most obvious. The object is to record, the object is recorded.

The photograph can bear witness to the fact that everything is interesting, or can be made to look interesting, the camera is perhaps the ultimate tool for looking at the world, a surrogate observer, it can fool us into thinking we know or understand the world better through the consumption of photographs. As an image, the photograph echoes a painting in that it portents to show something through the eyes of the photographer / artist, a world seen from a certain perspective. There is an accompanying illusion of truth, a reassurance; the camera never lies, even if its operator does.

Untitled, 2013 – Stephen Iles

However, to see the camera only as a tool is to place it in subservience, to bend it entirely to the artists will. There is a danger in seeing the camera not as a thing in its’ own right – we can mistakenly see it as an extension of ourselves, we can anthropomorphise it. The camera’s ability to find everything interesting is both democratic and problematic. Its abilities and capacities seem almost unbounded, its’ productivity astounding.

I see the camera as more than a tool, it is a machine. Though it may not have free will, it has a will. You may think it is doing what you tell it but it is doing it’s own thing as well.

The documentary aspect of photography can be both a support and a distraction. Whilst it may be enough to accept that an image documents a place and time and that be reason enough for its making, I have to ask the question ‘Is it more important what the picture is of or that it is a picture?’ Is the impulse to make work an impulse to capture or describe something I see, or simply an impulse or desire to make an image, a picture or an artwork?

If we just accept the documentary aspect as a fact, rather than a factor in the making of the work then we become trapped in a rhetorical loop. The image was made because there was an impulse to make an image, we can allow this impulse to take precedence over the particulars of subject and circumstance.

The images I’ve made in art galleries / spaces during periods of downtime or re-development are an attempt to engage with what art is in a rhetorical sense, To look for the way in which spaces for art do more than merely support art by being the venues for showing art, their existence / presence can itself be seen as evidence of art. I try to work with the camera as a mirror rather than a window, not trying to bring something from outside into the gallery, rather seeing the gallery itself as potential, as a catalyst.

I see each image as a proposition as much as a record of something, I’m trying to work with the camera to make some kind of rhetorical experiment where perimeters are set in order to try and see if art can begin to make itself. I’d like to explore the way in which we engage with art and what we expect from it, to ask the question ‘when we come to a gallery, do we come to see art or do we come to see ourselves?

For more on Stephen, see our featured event here. Between Space shows at The Tetley until 17 August.

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Tell us about yourself.

Since my teenage years my biggest passion was photography, combined with general interests in art, literature and history. I enrolled to study philosophy at University of Lodz in Poland however I quickly found out that it wasn’t this that I was looking for. In 2005 I came to London and after moving from place to place in and around the Big Smoke and having various – less or more interesting jobs I decided to move to Edinburgh. Not long after that I enrolled at Stevenson College to study Professional Photography, which I finished in 2012 with a degree in Bachelor of Arts. In September 2012 I moved to Aberdeen where I am continuing work on my portraiture and landscapes projects.

In “The Neighbours” project, I am trying to create a portrait of contemporary and multicultural Scottish society and investigating its links with the rest of the world. To highlight that migration, and multicultural societies are not a new occurrence, I am researching on communities and individuals who came to Scotland many years ago. But of course the main part of this project is about more recent changes. In the last ten years many people from new EU countries like myself settled down here which resulted in Scotland being even more diverse and multicultural. The main idea is included in the title – In today’s well connected world anyone regardless of nationality, cultural or religious background can be our neighbour.

“Sikh family” – Edinburgh, 2012 – The Neighbours

Where do you work?

For now, most of my work is done in Aberdeen and Edinburgh but the further stage of my project would require me to travel to different areas of Scotland.

When I am making portraits, I am always working in my sitters’ homes or places, which are related to their stories. I like that every person’s home has its own unique mood and story. I prefer to be out there that’s why I am very rarely working in the studio, but of course I have some ideas for studio-based projects as well. When it comes to landscapes, I am trying to combine my interest in places and scenes, which are aesthetically attractive to me with my interest in the history of the city, its inhabitants and their everyday activities.

“Jozefina” – Slovakia, 2013 – “Domov” – project recently shortlisted in The Jill Todd Photographic Award

Tell us about your process:

I choose to work in a genre of portraiture photography as this form gives me the possibility to meet a variety of different characters and listen to their stories, whilst observing them in their private domestic environment. I would describe my work as a formal environmental portraiture. My portraits are always a result of collaboration between the portrayed person and myself, however I always keep at a distance. I am the one who is recording their appearance and the story but in most cases I act more like a guide rather than a director. I am aware of the fact that photography – as any other medium – is very subjective but I want my sitters to be as truthful to themselves as possible. I want them to forget about the presence of the camera for a while. To achieve this I am always asking them to imagine that they are seeing a mirror instead of the camera. These mirrors are double-sided and I hope that the viewer looking at my portraits will be able to find himself in one of the pictures and translate the stories of my sitters to his own experiences. I think that these portraits also reflect who am I.

My landscapes are about juxtaposition, local history and mood of a particular place. My own perception of the place is also playing a very important role in the whole process of creating the photograph. I am often attracted by landscapes where mainly everything is designed by man or it is a result of mans’ activities as this can say a lot about the time and the conditions in which we were/are living.

“Polish- Russian family” – Aberdeen, 2013 – The Neighbours

What’s your typical day like?

This changes from time to time. When I am preparing for new projects, I tend to spend some time on looking for possible sitters, locations, funding sources and also on promoting ongoing projects that I am doing right now. But the research process is constant, as you never know what you may come across. When projects are in the implementation stage, I visit people or locations and take their portraits. I also work part-time in the evening so my photographic activities are from early morning until late afternoon. Very often I spend nights on the post production of the photographs from the past weeks. I try not to look at the new pictures immediately as I like to develop a sort of fresh view which allows me to look at them more objectively.

“Dr Kazimierz Durkacz” – Edinburgh, 2012 – The Neighbours

Where do you find inspiration?

This is a tricky question. If I knew where I could always find inspiration, I would not “waste” my time on looking everywhere I think I might find it!

It could be everything! From a short note in a local paper, word in the dictionary, book, story someone told me or most often by just walking around the city and being a bit nosey and curious about people and places.

What are your future plans?

At the moment I am taking part in “The Quality of everyday life” exhibition, which is on display in the Summerhall gallery until 22 November. I am showing some of my portraits from “The Neighbours” project there. Apart from continuing my work on this project, I am also working on a landscape series called “Gray City” and I am in the research stage for another portraiture project called “The Picts.” As my career progresses, I see myself working on collaborative projects with anthropologists and historians, combining social sciences with photographic art for the benefits of society. That’s my dream.

I would like to use this opportunity to encourage everyone who has foreign ancestors or those for whom Scotland is a new home to contact me, as I would love to hear your story and take a portrait of you or your family. I am looking forward to meeting you!

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PART THREE
The Gallowgate Twins: Endgame

By the end of August the last tenants of the Whitevale and Bluevale flats (The Gallowgate twin towers) will be moved out and the buildings closed for good.

Whitevale and Bluevale Flats – AKA – The Gallowgate Twins

I have been photographing the interiors and exteriors of the flats for the past few years and in the past few weeks I have been interviewing former and current residents to build a historical and visual record of life in the towers.

29/3 Bluevale

Billy – resident for 10 years on the 29th Floor

When D Day approached for the end of these flats I expected there would be some kind of formal documentation, just as there was in Red Road. But no-one, neither Glasgow City Council nor Glasgow Life / Glasgow Museums seems to be too bothered about these flats. Most people, it seems are happy to see the back of them.

Billy – resident for 10 years on the 29th Floor

Whitevale Camera Obscura – Setting sun hits the metal sheeting around the foyer of the Whitevale Flat creates a repeated camera obscura (the outside skyline reflected inside upside down)

But Glasgow’s Twin towers will hang on stubbornly for the next few years and contrary to popular belief they will not be demolished in time for the Commonwealth Games. It will take years to prepare the buildings and even then, no-one is quite sure how they will brought down. There will be no explosives or giant picking crane – they are surrounded by occupied lower flats and the proximity to the trainline is scarily close. These buildings were built to last and demolition experts are scratching their heads wondering how and when they can bring them down.

Photo montage of Former resident Tony and his younger brother on the balcony 1977 / 2013

One of the 5 remaining tenants waits for the lift outside his flat. He hopes to be rehoused by the end of the month.

Expect them to be turned into giant advertising beacons for the Games. Maybe they will be turned into a giant light installation with shining Hollywood style lights, welcoming visitors to the East End and the Commonwealth Games. But knowing Glasgow City Council and current budget restrictions, a big vinyl banner dropped from both flats will suffice.

I will have a short multimedia film complete on the Gallowgate Twin Towers in the next few weeks. Stay tuned and sign up at https://www.facebook.com/TheGlasgowRenaissance.

More: Website | Chris Leslie | Vimeo | Twitter

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Take a look at Part One of Chris Leslie’s Glasgow Renaissance here & Part Two here.

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PART TWO
The Human element – People behind (and in) the photographs and stories

THE EVICTED – Margaret Jaconelli, Dalmarnock Resident

Margaret walks along Ardenlea St in April 2008

As I venture round the empty landscapes of Dalmarnock photographing the empty tenements of Ardenlea St, I failed to see the net curtains indicating signs of life.  A woman’s voice calls me from a window, asking me what I am talking pictures of. It takes me a while to pinpoint her location as I’m faced with what I thought was a desolate, empty ruin. This was my first meeting with Margaret Jaconelli.

She has been living in Ardenlea St alone for over 5 years. All the other tenants were rehoused, as the buildings were to be demolished at some point. She held on stubbornly as she was one of the few who purchased her home back in the late 1970s.

Come the announcement of the Commonwealth Games coming to Dalmarnock and the plans to demolish Ardenlea St and much of the rest of the area are top priority. Margaret was offered a ‘market value’ of her 2 bedroom flat of £29,000 and asked to leave.  Knowing fine well she could never afford a new property with that settlement she refused and the long battle to evict her began.

It ended in March 2011 when she was served a compulsory purchase order and days later she and her family were evicted at 5am by sheriff officers and over 100 police who cut off and surrounded her home. Margaret continues her fight and has taken her case to the European Court of Human Rights.

You can view the short film documenting her story below:

THE POLITICIAN – George Redmond, East End Councilor

George Redmond stands on the corner of Ardenlea St

On Dalmarnock Gala day in 2008 I was introduced to George Redmond and joined him on a tour of the ruins of Dalmarnock. George used to live on Ardenlea St as a child, he shows me the empty plot of derelict land in between two destroyed tenement flats where once his home stood. He’s very keen to emphasise his role in facilitating Glasgow getting the Games and talks of the transformation of the area for the better.

George Redmond and Margaret have a confrontation.

As we end the tour we bump into Margaret, who happens to be one of George’s constituents. He tells Margaret that he is still trying to work something out for her, but in reality the Commonwealth Games will be for the greater good of the area and someone has to ‘take it on the chin.’

Roll on 5 years and Dalmarnocks landscape has been transformed and George Redmond has his eyes on the grand prize as leader of Glasgow City Council.

THE YOUNG TEAM – Dalmarnock, 2008

Dalmarnock Youth – 2008.

John and friends don’t seem too bothered initially when asked about what they think of the Commonwealth Games and what it means for Dalmarnock. But when I push a bit further and ask about job prospects and their future, he tunes in a bit more. He’s keen to be offered an apprenticeship to be a joiner or electrician. The local press and propaganda machine is hard at work explaining how many apprenticeships are to be made available for the East End youth.

But no one seems to offer them anything more than apprenticeships. When I chat to the local youth leader, he’s dismayed that no-one seems to be talking of or offering the local youth management trainee schemes, or telling them that they can aspire beyond that of an apprentice.  It’s as if they are only expected / allowed to reach a certain limit.  After 30 years of decline and poverty, social inclusion, any assistance or promise of jobs and new builds will always be gratefully accepted by the community.

THE UNKNOWN PAINTER (AND DECORATOR) – Sighthill, 2009

Davey’s Bedroom

Prior to demolition, all the flats in Fountainwell court at Sighthill go through a process of soft stripping, when all furniture and the window frames, plumbing and pipes are removed. All that is left prior to the actual blowdown is an empty wallpapered shell of a former home.

As I walk round the empty flats, some walls are painted bright colours, reds, greens and blues (sometimes dependant on their sectarian stance) perhaps to escape monotone grey concrete and concourse that surrounded them.  On the 14th floor of Fountainwell Court was the home of ‘Davey’ – the painter and decorator who had decorated his entire flat, walls and ceilings with everything and anything from supermarket flyers, newspapers, frozen burger boxes and margarine tubs.

My guide from the Demolition company is locally from Sighthill and knows all about Davey, he says he knows what boozer he drinks in so I could meet him, but he warns me “he’s a bit mental though, but a great painter and decorator.” Wandering through his former empty home looking at the meticulous way he has covered every inch of it, I understand both points.

I decide not to go looking for Davey and think that the pictures are better off on their own to document and give a somewhat unique insight into high rise living (and individuality).

Davey’s Hallway

You can view a short film on Sighthill below:

Written by Chris Leslie

Chris is looking to get the project exhibited / published. If you’re interested please email him at chris@chrisleslie.co.uk.

More: Website | Chris Leslie | Vimeo | Twitter

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Take a look at Part One of Chris Leslie’s Glasgow Renaissance here & Part Three here.

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PART ONE
Project origins – The Balkans

“But this is no time to dredge up vague premonitions. Savage, bestial city destroyers with no conscience are hard at work gutting, sacking, murdering the population, burning archives and libraries, demolishing museums and houses of worship.”
- Bohdan Bogdanovic, Serbian Architect, 1994

Comparing Bosnia to Glasgow is probably going to confuse and possibly upset some people, especially Glaswegians. But the inspiration for my project – The Glasgow Renaissance, with its doomed high rise flats, empty homes and desolation take me back 18 years to 1996; to the ethnically cleansed and destroyed towns of Croatia, and the jaw dropping citywide destruction of Sarajevo.

The connection between the two places is of course, far-fetched. People in Bosnia and Croatia had their homes destroyed, or had to flee them for very different reasons than the Glaswegians I have documented, and it is impossible to downplay or be-little the savagery that swept across the region. After the war, much of Bosnia’s landscape was ruined and empty and that’s when my journey began – and the comparisons began to emerge. Placing photographs of destroyed, empty landscapes of Glasgow side by side with those from Bosnia, with no captions and you may find it difficult to choose which is which.

Pakrac, Croatia – photo by Pete Pawinski

Pakrac Croatia, 1996. I spent 5 months here, working on a volunteer social reconstruction project in this destroyed and divided town.  Pakrac was 80-85% destroyed during the war and was in many ways, the middle of nowhere. In my time off I cycled around the ruins of the ethnically cleansed and destroyed homes. Sometimes quite stupidly (the area was littered with landmines) I ventured into abandoned buildings and homes.

Left behind were photographs, clothes, pictures on walls. As the homes were emptied most of the buildings were set on fire, so there wasn’t much to photograph but occasionally you would find the odd solitary shoe lying amongst the carnage and you only hoped that its owner had escaped and survived.

12 years later whilst out running I first discovered the Oatlands estate in Glasgow. Abandoned and partially boarded up, the flats had been emptied years before, but they remained littered with personal belongings such as letters, photographs, clothes and toys. It felt like people had fled in a hurry, unsure of where they were going, or their final destination.

Walking around what was left of the Oatlands I was taken back to my days in Pakrac. My wife freaked out claiming it could be dangerous, with security fences, rotten collapsed floorboards, and leaking gas meters – and sometimes it could be. But this time there were no landmines to worry about…

I moved back to Glasgow in late 2004 after 5 years in a sleepy Wiltshire town of thatched cottages, no crime, no litter and not even a sniff of dog s**t on the street, the polar opposite to the streets of Bridgeton. I remember driving past Ardenlea / Summerfield St in Dalmarnock on a cold misty winters evening at 4 in the afternoon and being transported back to the first time I drove into Sarajevo in 1996.

The Whitevale Flats have the most striking physical resemblance to the UNIS towers in Sarajevo. The UNIS towers were clear targets for the Serb artillery and a symbol of Sarajevo’s financial sector. Partially stripped back of their glass and facade the buildings resembled the brutalist concrete structure of the Whitevale flats, almost as if the latter are half constructed buildings, just awaiting their shinny coat of a glass and steel facade. (Maybe even putting cladding and glass on the Whitevale flats could be an option rather than wholesale demolition.)

The regeneration of Glasgow and the destroyed landscapes left by the process are temporary, these structures that will only exist for a limited time. Just like in Bosnia, they will be rebuilt in time.

In Bosnia the hope is that war will not return to create more havoc and destruction. In Glasgow we can only hope that in 30 years time the new homes and communities we are building now do not suffer the same fate of ‘knock em down, build em up again’.

Written by Chris Leslie

Chris is looking to get the project exhibited / published. If you’re interested please email him at chris@chrisleslie.co.uk.

More: Website | Chris Leslie | Vimeo | Twitter

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Take a look at Part Two of Chris Leslie’s Glasgow Renaissance here & Part Three here.

Who:
Based in the Scottish Borders, Sally Wanless is a photographer with a strong, simple style.

Why we like it:
Capturing compositions beautifully through windows, Sally’s work has a certain documentary-like feel and a sense of melancholy about it. We’re not sure if it’s because of the desaturated colours or the lack of figures in these particular pieces, but there is a strong sense of loss and sadness in Wanless’ work.

Hidden treasure:
In her ‘Get Out There’ series, the off-centre juxtaposition of the natural elements (water & wood) against the industrial ones in the photograph above grabbed our attention.

Where to find out more:
Website | Twitter

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