For the past few months I have been very grateful not only for being able to help out with LENSCRATCH but also getting to know Aline as a colleague and friend. This spring, I will be finishing my last semester at the Milwaukee Institute of Art & Design with a focus on photography. This opportunity has been a great educational tool in submersing myself in the variety of different works posted everyday, and also has let me view the art making world from a different perspective.
Sarah Moore was born and raised in South Dakota, where she still finds much of her inspiration for her work. She received her BFA in Photography from the Rhode Island School of Design in 2009 and has since lived and traveled throughout the country. Much of Sarah’s work deals with the ideas of loneliness, escaping, and the ways landscapes inform and shape us. Her work has been shown throughout the country and online. She is currently living and working in Santa Fe, NM, where she is trying to understand the harsh light and delve into the book-making world.
Expanses can be comforting but also stifling. Distances can fuel love but also misunderstanding. The vast space of the land is something I can’t quite embrace, break free from, or understand, but it provides infinite inspiration for me.
place. I photograph mostly
landscapes and self-portraits. I
started doing both in 2007, when I went back home to South Dakota to
shoot. Focusing on landscapes has
always allowed me to break free from the personal connections I have with
people. Still though, I love
portraiture and what a person can show in a photograph, so self-portraiture is
a way for me to still use a person in my photography, while still keeping the
work mainly about me.
a specific event, or just a general emotional state?
My parents divorced when I was four because my dad is gay. This is something I’ve more than come
to terms with now, but it was tough to deal with while growing up in the
conservative Midwest. I think the
divorce and the subsequent silence my family kept about it instilled a sense of
“me versus the world.” I grew up thinking it was best to keep quiet about big issues,
especially emotional ones. Then I
eventually thought it was just best to keep quiet in general. So I spent my years in South Dakota
sort of closing myself off from everyone, not knowing how or if I should share
the important parts of myself.
some trust issues and some issues with the way my problems were handled, I can
still try to share a part of myself through my photography. If loneliness was going to be such a
big part of my life then I wanted to at least make it part of my work.
your work, from the breath taking sights to the self-portraits that begin to
blend in with the surroundings. I
see this action of back and forth between the photographs and the
photographer. I wonder why you
choose to turn the camera inwards?
first went back to South Dakota. I
wanted to put a person in the overwhelming landscape, and I was the most
accessible. Throughout the years,
I’ve learned that one of the best ways to portray what a landscape and a moment
mean to me is to photograph myself.
narcissism. But then again, isn’t
most photography rather narcissistic?
As photographers, we capture what or whom we want to be seen and how we
want them seen. It can be a very
selfish medium. Yet by showing
others what or who we see, maybe we can also affect or help others.
my own issues of insecurity and loneliness. I don’t like images of myself, and in real life, I’m not often
apt to open up to people. I have
too many walls built up. I guess
through photography I allow myself, my body, my face, and my emotions to take
center stage. I get to act a
bit. I get to be important. And I hopefully get to communicate with
others through my images.
philosophies when it comes to humans and their interactions with nature? What books, or even other work, do you look
to when making the images you do?
human interaction with nature. I
know my own relationship to nature is pretty complicated. Though I grew up in a rural place, with
large expanses of land all around me, I still never felt really in tune with
nature. And after living in cities
for seven years, I felt even more detached from nature. Yet, I long for the land. I think many people do. I think there’s something in us that
wants to be closer to nature, but we’re not sure how to do that in this
increasingly electronic and cement culture.
moment that they’re immersed in their primitive roots. That’s about as close to nature as many
live. People like to be able to
feel close to the land while at the same time in control of it. I’m the same way, I admit. I bring my camera to the land with me,
perhaps trying to harness my own little bit of control over the wild vastness.
South Dakota, I looked a lot at Todd Hido and Larry Sultan’s work. I read a lot of theories about
photography and families at that time too. For the past few years, I’ve been reading way too much David
Foster Wallace. His work doesn’t
deal with nature explicitly, but it does talk about human society and our
alienation from each other, the landscape, and ourselves. I think I’m more interested in reading
about the human psyche and weird outbursts in society than I am about humans
visual conversation with other landscape and travel photographers, both
historically and in the contemporary?
photographers out there. Sometimes
I’m constantly comparing my work to others’, but I try to maintain my own
vision and keep a peace with myself.
I get overwhelmed really easily and intimidated even more easily. It’s definitely important to be aware
of your peers, both contemporary and historically, but it’s also important to
forge ahead on your own. I think
part of the reason I was in a rut while living in Philly was that I was just
too scared to make images. I
thought everyone saw better places, had better ideas, and executed their ideas
better. So I just stopped
creating. Obviously that’s not a good answer, so now I try to keep in tune with
other work (especially landscape and self-portraiture), but I also just try to
create for myself.
passing and travel within all of your work. In Scape there is this feeling that nothing is
constant, like you are drifting from place to place.
to speak. For one reason or
another, escaping has become increasingly important or my photography. That has meant escaping back to where I
grew up, escaping all over the country, and escaping to large city parks outside
of the city.
the fall of 2011, when I made my work in Scape. I mostly went on that trip because it had been about two
years since I really photographed. Living in Philadelphia after college put me
in some sort of photographic and emotional rut, so the only way I thought to
get out of it was to travel and see again. That trip was literally about escaping and reinventing.
landscapes. That will probably
never go away in me. Yet, I also
really need to travel to be alone sometimes. As I’ve mentioned, loneliness (or my illusion of it) is
partially ingrained in me, and I’ve found that traveling to different
landscapes helps me cope with my loneliness.
to Santa Fe, NM. It seems like you
have lived in some very different places in America’s geography. Does shifting
home this much affect your work?
different social climate. Even
though I’m not great at photographing where I live, I’m trying to get better at
that. When I lived in Ohio, I had
a realization that I was going to be in this strange place for about a year, so
I had to make the most of it with my photography. That’s when I started photographing the large parks in and
around Columbus. I tried in some
way to make the Ohio land a part of me.
this is home for me now. It seems
that once I get used to a place, especially geographically, I move. It takes time for me to acclimate to a
landscape, and the New Mexico one is especially difficult. I’m not used to intense sun or
mountains, not to mention adobe architecture and small pueblos. It’s more of a “wild” land
than most places I’ve lived, which is hard for me to grasp photographically,
constants and changes in my art and myself. I’m starting to learn which terrains I appreciate and which
light I want to follow. I also
really enjoy the challenge of trying to make a place my own, especially through
hard photographing your direct surroundings? Does the familiar become too mundane?
surroundings. It’s not that I find
the familiar mundane–in fact, I’m constantly inspired by what I see. I actually tend to post photos on Instagram
of every mundane moment I have or see.
Yet, when it comes to my other photography–the work I think about more
and use my “real” cameras for–I always seem to need to go away to
make that work.
present when photographing portraits and landscapes. And I think in order for me to do that, at least right now,
I need to go outside of my comfort zone, outside of my immediate space. Unfamiliar landscapes–even if they’re
within mere miles of where I work, eat, and sleep–help me disconnect from my
everyday life and find a part of myself that I want to explore more.
easily accessible, are there specific images that you strive for, that you go
out to shoot, or is there spontaneity to your photographs?
shots that I strive for. I know
that landscape pretty well, and I know that it’s largely the same view
everywhere you look. So I know
that I need to look for a certain type of field or certain color palette when
I’m there. I try to use the
repetition of that landscape to my advantage, which sometimes takes a lot of
pre-visualization and some sketches.
periods of time, I tend to shoot more and shoot very spontaneously. Unfamiliar landscapes force me to be
more spontaneous, and spontaneity forces me to try more things and make more
all. I love the slowness of my
South Dakota photography, and how it allows me to think about that one specific
landscape over the years. Of
course, I also love seeing a wide variety of terrains within a short period of
time. The diversity of the land allows me to think about how to connect all
those terrains into my life.
themes, so how do you declare a body of work finished? Does it necessarily finish when you
move, such as when you left Ohio, or is there potential for it to continue?
projects to continue, especially my work in South Dakota. I’d love to continue to photograph in
Ohio as well, and since my dad lives there, that will probably happen in the
future. On some level, I do
declare a body of work finished once I move, since it’s easy to wrap up
projects at that point. Yet, since
I go back to both South Dakota and Ohio so often, I’d like to keep both of
those projects open for a while.
finished making the images. That
project, though I didn’t know it at the time, was about a specific journey at a
specific time in my life. It
chronicles a road trip around the country during a time when I needed it
most. Though I definitely plan on
going on more road trips in the future, they won’t fit into what Scape became, because
I’m not in the same personal space as I was then.
whole body of work. All of my
photography deals with escapism, alienation, self-searching, and the land. I don’t see an “end” to that whole
project anytime soon. So for now,
everything is sort of left open.
I often can’t relate to America as it’s depicted through the media’s eyes. I find it difficult live up to cultural standards and societal expectations. I have trouble getting close to those closest to me. Yet, when I see America—the America of such diverse, beautiful, and nuanced terrain—I find that even if I can’t understand what America has become, what people around me have become, or what I’ve become, I can feel comfort in the landscapes.