Richard Barnard Interview
Richard Barnard | @ftwentytwo
Tell us a bit about yourself. Who you are, where you're from and what you do!
Hi. I’m Richard from Stockport, U.K. I’m a retired Clinical Psychologist and now spend a lot of my free time doing street photography and collage.
We met through collage but you also have a vibrant photography practice. How did you get your start as an artist?
Who me? - I struggle to apply the word ‘artist’ to myself and I feel like an imposter for even daring to answer this question! I am truly awful at drawing (despite the fact my dad was a keen water colour artist and my son has a degree in illustration!) And, on that basis, never considered myself an artist. Photography has always been my creative outlet and I was obsessed with cameras and picture taking from an early age.
I particularly enjoy street photography (candid, unposed shots of people taken in a public places) and, whilst out on the streets, I became fascinated by the ‘random art’ of torn posters.
“I heard a helpful distinction between motivation and commitment recently which has stuck with me. Good street photography (or any art form) is about making a commitment to regular practice irrespective of whether you feel motivated or not and I find that inspiring.”
Do you feel like photography informs your collage work?
The ripped paper of torn posters definitely sparked my interest in collage and I started to experiment with collage during COVID lockdown. I think there are some interesting overlaps between street photography and collage as art forms. Both are about building new relationships and creating connections between visual elements and, at their best, both have their own ‘decisive moments’ when elements are successfully combined in a unique and compelling way to offer a different perspective.
In the same way that ‘good’ street photography is more than a simple record of people who just happen to be on the street, I think ‘good’ collage should be more than an assemblage of images that happen to look nice together. In both cases I think it’s good to ask oneself if the finished image succeeds in saying anything ‘new’ or not.
What do you love most about what you do?
Transforming the everyday, the commonplace (whether it be people on the street or pieces of paper) into something unique and (hopefully) compelling.
What inspires you to keep creating each day?
My Psychologist head says the addictive nature of intermittent reinforcement - the power of occasional success during repeated failure! There’s a saying that street photography is 99% failure and it’s not unusual to spend several hours walking the streets and still come back with no successful shots - even the best street photographers work on the basis of 2-3 very strong shots a year. On the other hand your ‘lifetime’ best shot could just be around the next corner and I enjoy the unpredictability (most of the time!) I think it’s a bit easier with collage due to the amount of control you have in manipulating the various pieces in the frame but I do get the same buzz when things finally fit into place after much trial and error, especially when using the gel plate for image transfers.
I heard a helpful distinction between motivation and commitment recently which has stuck with me. Good street photography (or any art form) is about making a commitment to regular practice irrespective of whether you feel motivated or not and I find that inspiring.
Can you share with us another artist you admire most and why?
Difficult to pick just one but I really like the collage work of Les Jones (https://www.instagram.com/lesjonescollage/), editor of Contemporary Collage Magazine (who, incidentally has been good enough to publish several of my torn poster images). I admire his skill in composition and frequent incorporation of type.
I’d love to learn more about the torn posters you share -- what catches your eye and where do you find them?
I’ve always been fascinated by the process of decay, things that are flawed or sit on the ‘outside’. I can identify with Todd Hido’s quote in this respect “Often when I’m photographing I go around the back of the house… The story isn’t usually facing out… It’s the backstory I’m interested in, where life presents its more unraveled self.”
I enjoy the serendipity of torn posters; naturally occurring collages created by the random forces of weather, interactions with passers-by etc. I think they are especially engaging and rich in metaphor when they involve torn fragments of people.
I do most of my street photography in Manchester and I have a regular route that takes me past my favourite billboards. Sadly they are fast disappearing due to the amount of new construction in the city.
What is something you're really proud of when it comes to your art?
Difficult to say. Despite trying to maintain the ethos of ‘you should always make work primarily for yourself’ external validation is always nice. It’s gratifying when other people are prepared to part with their hard-earned cash to buy my work. I published a small book of my Cuban street images a few years ago which sold a number of copies. I also held an exhibition of my torn poster prints which sold quite well. As an aside I was very tempted to call the exhibition ‘ Not for Christmas’ as when I first showed my Mum the finished exhibition prints her response was “Very nice dear but don’t give me one for Christmas”!
Do you have any albums, songs or podcasts you listen to while you edit or create?
I have over 2000 ‘liked’ songs on my Spotify shuffle playlist which is more than enough to keep me focussed and entertained.
“I think there are some interesting overlaps between street photography and collage as art forms. Both are about building new relationships and creating connections between visual elements and, at their best, both have their own ‘decisive moments’ when elements are successfully combined in a unique and compelling way to offer a different perspective.”
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How do you fuel for the day?
Coffee! Best part of street photography is regular access to coffee shops and I love to sit with a coffee and watch the world go by.
Tell us about your vision for the future? Go big! We want to root you on!
I am very lucky to be retired at a relatively early age and to be able to spend so much of my time doing the things I love. My vision is simply to remain healthy enough to do more of the same.
Richard Barnard
Instagram: @ftwentytwo
On the web: www.flickr.com/photos/ftwentytwo
