View from my Window

It’s week 1 of my Master’s course and we’re asked to reflect on the role of photography and the photographer and the global nature of photography, window to the world or mirror into the soul? Or maybe both, as the duality of my profession becomes obvious on reflection.

To begin our introspection and meet our colleagues, we are asked to share with the others a view from our windows. I choose to share the view from my lounge-turned-isolation room in this crazy year that is 2020. Right now, I should be in China with Matt sharing another adventure and insight into that wonderful culture with fellow photographers.

But I am stuck behind these windows in our desirable ‘Victorian cottage’ working class-chic terraced house. The claustrophobic atmosphere is a signature of this year, even more so as I’ve been accustomed to travel the majority of my time over the past few years. Still, the sitting still for a while and the opportunity for introspection are welcome.

When it comes to the window-mirror analogy to photography, it is interesting to note that privacy is a great factor when analysing this two-way relationship: we love to look out into the world, but at the same time we are weary of others looking in.

Aesthetically I am a lover of symmetry and this is apparent in a lot of my work. This capture is deliberate and it required a certain angle of shooting to reflect this beautiful symmetry. In this image I also love the repetition of the three windows from the houses opposite - same but different, striving to be individual in a deliberately uniform context. The mirroring views (how do my windows look from the ones opposite?) and the two way analogy is almost reminiscent of an infinity multi-mirror effect.

And the bins. Deliberately left in the view although slightly obscured by my frosted windows. Hideously ugly - but necessary utilitarian additions to the urban landscape, reigning over the beauty of period house facades.