Murray Ballard Analysis and Research

  My view on Murray Ballard:

               Murray Ballard’s practice as a photographer is intrinsically and indelibly concerned with the ‘where’ of his images. Location is essential and in fact often the primary factor for selection of his subjects as evident throughout The Prospect of Immortality (2006-2012). When I looked at his work in a slightly wider context I realised that this unusual project was not an anomaly, but a recurrent theme, his larger body of work encompasses other projects based within the physical grounds and conceptual exploration of a facility in a similar manner, How to Genetically Modify a Tomato and Other Things We Eat (2011) is a great example. Other series including FotoDocument: UK Renewable Energy (2012) and One Week in Moscow (2010) similarly record the qualities of a specific place.

Images from How to Genetically Modify a Tomato and Other Things We Eat (2011)

Cathie's desk

Controlled environment rooms

                Ballard photographs elements of a place that help to build up a larger picture of what it is about. He tends to stand back and allow lots of the scene into the shot, but each image is usually of a ‘thing’. Throughout How to Genetically Modify a Tomato... For example, he photographs equipment, scientists, specimens etc- very definable subjects. Our impression and interpretation of the facility is created by the series feeding us with information. The photographs are littered with details and examples of what we could expect to find there. And with the locations featuring such unusual niche activities the viewer’s access to the space is most likely almost uniquely through Murray Ballard’s lens.

Which to me feels quite a comfortable way to experience the place. His presence once again seems unthreatening, non-judgemental and welcomed by the organisation. Of course I am aware that in presenting the viewer with a selection of the facility’s contents we are restricted and our opinions formed through a biased, constructed edit. But the impression received is that it is a fairly honest– if playful and directed– edit. He seems to enjoy photographing these subjects and I get the sense that he is very interested in the places he explores and wishes to share them.

                However the work that first caught my eye was the five year long insight into the international community of cryonics in The Prospect of Immortality. Fully immersed in the practice and its practitioners he gained access to a tiny field that most of us know nothing about. But again, the key to its success is his photographic approach. The Impressions Gallery exhibition review stated that ‘Ballard takes an objective stance, allowing the viewer to consider the ethics of the practice, and to decide whether members are caught up in a fantasy world or are actually furthering genuine scientific innovation. Alongside fascinating representations of the technical processes, Ballard sensitively portrays the people involved, offering a human dimension to his account of this ‘21st century attempt to conquer the age-old quest for immortality.’

                It is the photographers open minded presence that makes me love these photographs. And aesthetically the neutral, light, informative shots do the concept justice.

                Small details in the frame continue to breathe life and humour into the work, such as in Meeting for new members, the viewer light-heartedly reads a comparison between a body slumped over the table in front of tentative new members, and the exit sign illuminated above the door. This attention to detail makes the photographs a pleasure to read.

Meeting for new members

                This body of work follows a culture through various locations and countries. Beginning in the UK and expanding as he gained trust, fell deeper into the community and was granted more access and funds. But he retains the ability to describe the sense of a place. The high-tech labs of Arizona to Peacehaven, the place is always important, considered and well illustrated.

http://www.murrayballard.com/

Aaron Drake, Medical Response Director

Perfusion kit

His work is displayed in a manner of ways, his work features in lots of exhibitions as well as solo shows, but it also shown in less traditional galleries such as train stations. Some of the projects he transforms into a publication, which forms the work itself.

Prospect of Immortality in the Moral Holiday Exhibition

FotoRenewables Exhibition, Brighton 2012

Newspapers

My concern with writing about Ballard is that I might not have enough to say about an individual photograph, whilst using an entire project as my text will be far too much content to discuss if I am to go into detail. And I love the work, so will I be able to be critical and distanced?

The other problem (although that could change) is that currently I don't know how to relate it to the programme, I could analyse the photographs visually, but might struggle to incorporate theorists and ideologies.