Interview with Die Nacht

The work of UK-based photographer, Nicholas Hughes concerns depiction of the spiritual within a contemporary context allied to environmental concerns. His growing interest in the perception of the mystical within photographic imagery produced his ‘Immaterial’ series upon completion of his MA studies at the London College of Communication in 2002. These works for the most part looked at curtain material in a very abstract and painterly manner under varying lighting conditions. These were followed by the series ‘Edge’ which depict snow and seascape captured in subtle monochromatic tones and his series ‘In Darkness Visible’ that presented a primordial urban forest in central London as well as the sea both captured in increasingly dark tones.

Hughes makes use of a large format camera and produces the resultant images as traditional C –types. His intention in making minimal, abstracted ‘landscape’- images is to engage the viewer and make them feel a part of the image. It is through contemplation or absorption into Hughes’ work that viewers are able to lose themselves and are driven toward a meditative state.

Hughes’ approach to a minimal style has given him a preference for still quieter imagery. Spirituality often considered the opposite of the material is prevalent in Hughes’ new body of work ‘Field’ presented here.

His work has received growing international attention through exhibit at the 5th International Photo Festival in Seoul 2005 and at ‘Earth’ The Houston twentieth Biennial Fotofest in 2006. He was shown at the Photographer’s Gallery London in 2007 and 2009 and has also been seen at the world’s major photographic art fairs in Los Angeles, New York and Paris. Most recently he was shown at the Victoria and Albert museum in London (2009-10) and his first solo exhibit in New York is at the Nailya Alexander Gallery from 6 th September 2010 – October 3oth 2010. His work is held in a variety of public and private photographic collections worldwide.

F.S. Your latest series ‘Field’ exhibits a temporal as well as spatial relevance; the photographs are reminders of different seasons but also show how manicured and restricted land has become around us. Do you think this represents an expansion of your previous approach?

N.H. In my previous series, I developed a method by which I restricted my working space to a small section of London parkland – a very public space, in which I chose to omit signs of human presence. In ‘Field’ I constrained my landscape practice still further to a small patch of land adjacent to a new home in a remote environment, whereby all that I photographed was readily observed and accessible by foot. Within this landscape however markers of our inhabitation seemed more useable for their symbolic qualities.

What are these symbols and what is your intention with their usage?

N.H. In previous series’ I paid a lot of attention to the subtle properties of light and darkness. This usually involved the exclusion of signs of our inhabitation. On first sight this new landscape offered many of the minimal qualities for which I look - however this was often punctuated by the verticality of telegraph poles, they seemed to enhance something of the isolated manner in which I was operating. Although telegraph poles have occupied a space in the western psyche already to this effect, their meaning can now lend themselves beyond this - towards the unceasing nature of global communication. Although we can still seek isolation, there is a decision to make over how much we allow technology to interfere with that process.

F.S. The skill with which you imbue these beautiful images with a sense of the ‘unheimlich’ is apparent again within ‘Field’. Do you intend this contemporary Sublime to operate as a moral ‘device’ - to enhance our awareness of mankind’s misuse of the environment?

N.H. There is a tendency within contemporary art practice to highlight the destruction of our environment. Part of my intention is to find poetic entry points that speak of a still wild nature and thereby offer a more optimistic outlook. Although this is still politically charged via the self imposed restrictions of my working space I aim for the truth via a more circuitous route. To put this another way - I feel constantly being exposed to negative depictions of destroyed landscapes has a wearing psychological effect upon the viewer. By engaging a more sensory response I aim to persuade of the virtues of preserving that which remains.

F.S. The Abstracted nature of your depictions withdraws everything that might overly saturate or over-stimulate the mind. In making reference to aspects of Romanticism - do you see nature as a metaphor for spiritual and mental renewal and thereby a contemplative cure for the viewer?

N.H. The ideals of Romanticism are subject to the boundaries set by an overdeveloped world. Contemporary living can leave little space in which to contemplate much beyond our everyday existence. Although I operate within my own set parameters, my outlook aims to be more expansive - to represent the universal. Landscape still has the capacity to take us out of ourselves -I like to think my work offers that potential.

F.S. As a part of your rationale you quote Alpers’ assertion that ‘Artists often need to be withdrawn from the world for the purpose of attending better to it’ (Modern Painters). Do you not think that this is rather a romantic notion - being withdrawn from the world, and by extension society? Do you feel less in conflict with your environmental ideology by being withdrawn from the polluted urban environment and now living in an area desired for its natural beauty?

N.H. To a certain extent, city dwelling can incur less impact via public transport and shorter traveling distances etc. However this opportunity has enabled me to study in a quieter space without the constant company of urban noise. Spatially there seems more time to fill and attendant less distraction. Being able to pay constant attention to my project enabled a slowing down - a greater degree of intensity. It is a rare opportunity to lie down at night without sound or light…. an obvious departure from the constants of city illumination and air-traffic.

F.S. Could this escape from the urban metropolis have been a personal need to find inner significance away from the self-conscious fabrication of contemporary identity?

N.H. It was an opportunity to investigate one of the least developed parts of the country and as such a complete contrast to one of Europe’s largest cities – it took much time to absorb the environment and then to translate my response to film. At the conclusion of ‘Field’ in Verse III, I became more aware of the temporality of everything. A serious illness had enhanced my understanding of the superfluous. As a consequence I have now decided to take my current method of work to its logical conclusion - my current study is now concerned with the properties of light and dust.

F.S. What form is this new work taking?

N.H. I am collecting and experimenting with material that illustrates the patina of our existence. I am engaging contacts that live in various parts of the world to help in this process without having to travel to these places myself.

F.S. Thank you for taking the time and l look forward to seeing the outcome. (Franziska Spindler was interviewing Nicholas Hughes in June 2010).

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