Christopher Bucklow


Entretien le 26 janvier 2011, à Frome (Somerset, UK)

Several people (Fuss, Miller, Derges, me) are interested in a kind of immediacy.

Then Martin Barnes got involved.

Contact with the other (part of the psyche), romantic culture (a loaded word).

What were the intellectual drives behind romanticism?


Personal account: in the early 80s, I was not an artist; I did research of my own volition: nature of the human in the world, very fundamental, very personal questions.

Questions asked as an art historian.

But my motivation was answer to personal questions. I was then not aware of that.

I was researching English romantic naturalism, beginings in 18th century of artists starting to dispense with.


The proto-photographers, Burning with Desire.

Immediacy of the watercolours, spontaneous, eye to hand, the mind is bypassed.


I curated the show The Pencil of Nature.

I moved to Photography Dept at V&A.

I met the other three in 85/86.

I am more hybrid (my plant sculptures in 89), interested by the human presence in the world.

They are pure photographers.


Guests: nature vs culture, drawing and the sun, the logos; depicting the linguistics of the body.

First Guests: me, Peter Schuyf, Adam, Garry, Susan.

My friends (and my enemies) define me, it’s always a self-portrait.

I am a very solar person; it’s a picture of my linguistic body.

The process obviously important: shadow as the world recording itself.

My interest in light.


Plants: inspired by watercolours, depicting mental activity, but not strong enough.

Images of the sun with stenope 1991.

1991 computer animation about dreams (not extraordinary).

Films in Israel: projection of the sun on the body.

Child: arrival of language in his system.

Mother: lying on the floor.

Most unconscious work.


About Adam Fuss: camera is driving you, forcing you to do things, while you believe you are the driver. He is a spender, opposite of me.

About Garry Fabian Miller: the world is organized, photo is a refuge from that for him.