Michelle Sank is a social documentary photographer who was born in Cape Town, South Africa and has been living in England since 1987. She has the ability to create captivating narratives through the art of portraiture. In a sensitive way, she manages to depict the complexities of individual lives, culture and societal nuances. Sank's work demonstrates the power of photography as a medium of social awareness and understanding.
Laura from the ‘Young Carers’ series
Your photographs all have a very particular style. What led to that aesthetic?
I think it is my appreciation of how photographic language is working in that moment - the way light and colour interact to create some kind of tension. The slowness of the image making process also allows the space of the portrait a “certain kind of privilege – it is almost as if the protagonist experiences the space around him/her as a conventional studio or a stage with its accompanying dramatic potential.” (Karen Downey from my Monograph ‘Becoming’)
Maurice from the ‘My.Self’ series
There is an ‘aura’ about them that I connect with that has it’s origins in my own genetic and historic code. I feel this resonance, and the excitement that I experience is conveyed to strangers when I first meet them which starts a connection between us. I have always felt that the human interactions I have with my subjects is as important to me as the imagery itself.
What draws you to photograph a person and what is your approach to working with strangers?
Connor from the ‘Young Carers’ series
Roland, 19 years old, alias Lady Gaga from the ‘In My Skin’ series
Yes, it is, as I can be aware of metaphor and symbolism that can become evident in the relationship between subject and surroundings – the same occurring within my landscape images. I see my portraits as being able to mould person and place together, creating sociological, visual and psychological landscapes and narratives.
What stands out to me in your photographs is the connection or interplay between the subject and their surroundings. Is that something you pay special attention to? Why do you think this connection is so interesting to document?
Elvis Rock from ‘The Submerged’
It is a mix of the two as I work with my subjects in their found environments but will also partly direct in those situations as how best to reveal the intention.
What is your approach to portraiture? Do you let the subject decide or do you direct?
Since social documentary photography is very personal and intimate, how do you handle the ethical aspects of photography: How do you ensure a good balance between your artistic expression and your responsibility towards the participants?
I am very aware of respecting the individuals I work with. I hope there is a sense of respect and empathy that emanates from the imagery in relation to the subject matter that I tackle and that the viewer can get a sense of the spectacular in the ordinary.
All photographs in this exhibition are available to purchase. Please contact Elliott Gallery for further information.
Dorcas and Mother in Garden from the ‘Burnthouse Lane’ series
One of Michelle Sank’s latest projects is the ‘Burnthouse Lane’ series. Shot in Devon, UK over a two-year period, documenting the close knit community, urban and rural landscape and how these elements interact to create metaphorical narratives.
Dewi Lewis Publishing will publish a book on the series, with an accompanying essay by Diane Smyth, editor of the The British Journal of Photography.
To fund this project Michelle Sank is launching a Kickstarter Campaign, which you can find in the link below.