Uncle Allan had a significant quarrel with his mother who never spoke to him thereafter and cut him out of any inheritance. Apart from his being a painter and textile designer that was really all I knew about my father’s Uncle Allan until by chance I saw that the National Portrait Gallery had a photograph of him in their collection. This photograph was the first of many fragmented clues leading to a quest to unlock the aura of mystery surrounding this man. Handbound, using original 1930s fabric with Grapes
designed by Duncan Grant for Allan Walton Textiles in 1931 on the cover, archival photographs, archival documents and new photographs are interspersed with text to tell this intriguing story.
This body of work explores the wider issue of family secrets and how secrets kept in the past impact on the present. There is consideration too of secrets themselves, how they fester and ferment below the surface ultimately refusing to stay buried and the part that mute objects, photographs in particular but documents too, play in their unmasking in a way that suggests that somehow these have a momentum of their own.
Laissez Faire Issue 16 Pointing and Shooting at Photography by Jon Madge
Free Range Photo WEEK #1 by Tina Remiz