Richard Ansett

The aesthetic from a social documentary portrait tradition also acknowledges a unique worldview. The style and relationship to photography is a genuine and diligent examination built over many years from a fascination with other people’s lives relative to my own. Whilst it is a document in the tradition of photographic practice, as portrait it acknowledges my presence and influence. I am always fascinated by others, celebrating their lives from the perspective of my dislocation and lack of certainty.

Adopted from birth and detached from any genetic and cultural heritage, my observations are shaped by an overdeveloped interest in how we are shaped by the influence of physical reality rather than any genetic bias. This circle can never be squared; it is my disability and in the acceptance of it my superpower as I negotiate my relationship to the world assisted by the camera. The camera is a window through which I view a more complete world from the outside in and I am in a unique position to discuss that the foundation of all persona is reliant on an interpretation of the world influenced by forces within but essentially beyond awareness. (See Facuity)

My practice is a method of open and renewed experience having different results often re-presented from their original purpose. It is a continual and evolving enquiry with the premise that relationships to reality are unique to every individual and should not be assumed to be shared. The presentations of specific works are examples of projection through the deliberate presentation of my own worldview conceived through a traditional portrait practice that acknowledges the photographer as present equal to the subject. Whilst these representations should not be taken as conventional narratives, the work continues to exist as a more traditional document accidentally recognising the immediate reality of peoples lives. The priority however is intrinsically beyond any two dimensional interest in the subject themselves.

My interest is in the more universal and inevitable attrition from the engagement with reality that shapes our unique human personality that can be read visually and the archive as a whole acknowledges our shared collective engagement with that mortal timeline.

The confidence of not knowing my own heritage offers a perspective from which to examine the existential relationship to reality space. I acknowledge and celebrate the history of photography and the values and traditions of conventional photographic practice as a framework for an enquiry into the broader frames of reference through which society can be viewed.

Thank you for visiting this site and for your understanding.


* (1) Farina, Gabriella (2014) Some reflections on the phenomenological method. Dialogues in Philosophy, Mental and Neuro Sciences.