Notes d’après les entretiens de Mark Haworth-Booth avec Susan Derges (1955) le 26 janvier 1996, disponibles à la British Library dans le cadre du projet « Oral History of British Photography » (références C459/ 79, 4 bandes)
1ère bande (31:44)
In Japan, interest in photography, often accompanied by sound, strobe lighting and water.
Vibrating powder on paper for photograms.
2ème bande (31:42)
Met Garry (Fabian) Miller.
Started to work with water (Observer and Observed); water vibrating by sound, strobe light at same frequency.
Show of camera-less photography.
Moving out of London in 92, changed my work dramatically.
Stumbled upon the spawn in a pond (frogs). Photogram.
Working with bees.
3ème bande (31:47)
Why photography, why this primitive, direct form of photography? At beginning, desire to have a modest position, idea of automatic processes, of sound making an image. Now, especially the simpler means (no lens): ability to cut through the issues about lens.
New dimension with digital imaging: for me very tangible element of handling the film (since no camera, much closer; digital even more). More direct way, closer contact, quality of images more startling, different; represent the known in a different way.
I use whatever is necessary for a particular idea, not a set position , I am very open (camera, lens). The camera-less prints challenge everything else, they have a quality otherwise difficult to reach.
William Blake? For her too, but not as much as for Garry and Chris; an important figure. Spiritual ability. “seeing the world in a grain of sand” (Blake).
Interest for Buddhism and physics.
Work with water: since her early paintings.
4ème bande (7:27)
Water: transparent, formless, an echo.