Art exhibition at Maeldune Heritage Centre, Market Hill, Maldon. Thursdays and Fridays 1pm to 4pm. Saturdays 10am to 4pm. Christmas exhibition featuring works by artists who have previously exhibited at the centre.
When 00:00 Saturday, Sunday, Monday, Tuesday, Wednesday, Thursday, Friday
Where Maeldune Heritage Centre Market Hill, Maldon Maldon CM
Event contact details Telephone: Call 01621 851628 for more information.
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Next year highlights from that archive, some 150 photographic portraits, will go on display to the public at the National Portrait Gallery in London and at the Scottish National Portrait Gallery in Edinburgh.
And it's also amazing that he spent so long working in such a geographically small place - an area in north Devon just 10 miles or so wide. I think it's admirable. You get a totally different perspective on his subjects, because they are obviously used to him. He didn't bother them, he wasn't an intrusive presence - he could be in the room for quite intimate moments and they wouldn't find this disturbing. He's almost like a nature photographer, in a way.
I also liked the sound of James Ravilious because he was the son of a famous father [the painter Eric Ravilious], but concealed this when he went to study art at St Martin's. More would have been expected of him, I suppose, if people had known.
The photographers that catch my eye are very few: the American photographer Chauncey Hare, for instance, who was a bit like Martin Parr before Martin Parr, as it were. He photographed interiors of no glamour or seeming interest at all, but he was one of those people with a definite and peculiar vision.
The England that Ravilious photographs - is it an England you recognise? It's more like the England of 30 or 40 years ago. I didn't have a rural childhood, but I had to do something once on another photographer, Jack Hume, who photographed south Yorkshire when the mines were running down. They both capture odd moments such as a street party or people around a table for a celebration. It's the sense of a whole community that I found moving, really.
The interest in people must appeal to you as well, given how you write. I know I'm supposed to be a good observer of people, but I'm not really. I know how some people talk, that's all.
But that's attending to people, isn't it? That's also what he did. I think attending is absolutely the word; what he did is attend to people. I did a film years and years ago, about a woman with a mentally handicapped daughter who dies, and they go to put some flowers on the grave. A young student photographer is hanging about, looking for a subject, but she defends herself by saying she's attending to them. I actually think that's a good defence.
Ravilious treated his subjects with amazing care, too. He's almost apologetic about the need to surprise people, to catch them unawares. They aren't just subjects to him; he's living among them, he knows them, and in that sense he respects them. Photographers are often tourists, but Ravilious isn't like that at all.
Writers are sometimes accused of being tourists too. It applies to the arts in general. You could say that Auden was a tourist but Larkin wasn't: Larkin lived in that sort of flat, unaccented life, and that was his life. Whereas Auden, when he writes in praise of limestone, he's just passing through.
You've also written a lot about passing through, moving between different places. People always ask me why I don't live in Yorkshire all the time. It's because I'm too divided, really. I don't feel I have to live in Leeds any more; it's there, and I can draw on it.
Are the pictures art or photography? Does it matter? Whether it's one or the other never bothers me. I'm as happy to have a photograph on the wall as a picture.
