To what extent is the work of Yury Toropstov and Michelle Sank similar?

On reviewing the ‘Quintessence’ Exhibition, it is clear that the work of International Photographer in Residence (IPIR)[1] of 2014 Yury Toropstov in ‘Fairyland’, conveys a certain degree of similarity to that by IPIR of 2013, Michelle Sank in ‘Insula’. Both artists, formal and methodical in their photographic style, take influence upon discoveries made from the Societe Jersiaise Photographic Archives, and subsequently their respective bodies of work made is achieved through a similar process. Nevertheless, there are clear distinctions in the work of the two artists. Firstly, the extent their respective personal influence is very different, thus shaping the direction of their work very differently. Secondly, they give varying representations of island life, with Toropstov photographing more subjectively than Sank. Although I can draw some similarities, I maintain that the obvious contrasts and differences in their work means that the extent of similarity between the artists is somewhat limited.

Both Sank and Toropstov’s photographic style is formal. Many similarities can be drawn from Toropstov’s image of “Vic Tanner Davy”[2] formally dressed in an office, holding a statue, with Sank’s image of two girls, “Chloe and Leah”[3]. They are both formal portraits, and it is apparent that both photographers have carefully considered how the image has been composed. Hands are used in both to symbolise the distance between the photographer and the subject. Sank keeps the hands of her subject down to convey a defensive pose, and Toropstov achieves this same effect by photographing the subject with his hands in his pockets, symbolic of a defensive nature. Both Sank and Toropstov were commissioned by Archisle “to live, work and teach for a term of six months”[4], and their outsider view of the island subsequently reflects this position. Their equally careful and methodical approach to dealing with their subjects explores how the work of both serves to express this outsider, and therefore limited perspective of island.

(Photographer: Yury Toropstov, Subject: Vic Tanner Davy, Jersey, 2014.)

(Photographer: Michelle Sank, Subject: Chloe and Leah, Jersey, 2013.)

Furthermore, similarities can be drawn from the considered approach to how Toropstov and Sank research their respective contexts and themes. In contrast to the work of Martin Parr, (also in the exhibition) both Sank and Toropstov convey a far more considered and formal approach to research, restricting the direction of their work to pre-determined themes, highlighted in Toropstov’s case by his image “Jess”[5] and the similarities this can draw with the archival image of Ivy Joan Vibert. Both artists use the Societe Jersiaise archive as the basis to inspire their work. Sank takes influence from social order of Henry Mullin’s mid-19th Century Portraits: “9,000 portraits of islanders placed and identified in grid configurations”[6], to explore class systems in the island, whereas Toropstov was inspired by footage of a young girl named Ivy Joan Vibert with her float ‘Fairyland’ at the 1937 Battle of Flowers, fuelling his exploration of the “discrete and mysterious”[7] nature of Jersey. The similar methods of research by both photographers to create their outcomes, draws clear similarities with both in terms of photographic approach, resulting in their work being of a similar pattern – very specific and concentrated themed images, of which this style of research based photography inevitably results in.

Although both similar in terms of research, the work of Sank and Toropstov are influenced in completely different artistic directions. All six Archisle artists nominated another artist whose work had influenced them, and this is a significant factor in differentiating Sank and Toropstov’s work. Sank chose David Goldbatt, who has four images in the exhibition, looking at the social barriers established by race in apartheid South Africa. One portrait is of a black couple holding up a registration plate, and they are shown to be poor and socially disadvantaged through the representation of their clothing and living conditions. Sank’s portrait of “Chloe and Leah”[8], draws striking similarities to the intentions of Golbatt, as the girl’s appearance of simplistic clothing and worn out shoes, implies too that they are working class. Sank therefore has very much been drawn down the artistic direction of exploring social status and order. Toropstov, on the other hand, was influenced by the concept of mystery and mysticism, an impression he established during his stay on the island,  citing the controversial ‘Cottingley Faries’[9] series by Elise Wright and Frances Griffiths as his influence. Sank’s influence is shown through her objective, documentary style, whereas Toropstov’s main influence inspires a degree of creativity, imagination and subjectivity.

(Photograher: David Goldblatt, “You’ll be the driver and i’ll be the Madam, Johanesburg – RSA, 1975.)

(Photographer: Michelle Sank, Subject: Chloe and Leah, Jersey, 2013.)

(Photographer:  Elise Wright and Frances Griffiths, “The Cottingley Faries”, Bradford – UK, 1917.)

Fundamentally, the main difference which highlights clear distinctions in Sank and Toropstov’s work is how they depict the theme of ‘islandness’[10]. Sank during her stay in Jersey became interested in the issue of class conflict on the island, as she describes, “I am interested in creating sociological landscapes”[11]. Her take on Jersey is that it is a place of extreme cultural diversity and social extremes; ranging from the the home of very rich to those in most abject poverty. The series is therefore an observational human study. In stark contrast to this objective viewpoint, Toropstov’s work reflects a more personal viewpoint of the island, and ‘Fairyland’ documents his own personal journey to “connect to island life”[12] and discover the hidden secrets of such a “mysterious and discrete place”[13]. Such a contrast largely impacts how the viewer interprets the images in the exhibition. Sank’s images invite the reader to reflect upon her work with a sense of observation and distance. On the other hand, the subjective nature of Toropstov’s work invites the viewer to interpret the images from a more abstract perspective, encouraging subjective experiences to determine judgement. This contrast is important as the mood established within the respective works is completely different.

(Photographer: Michelle Sank, ‘Disused Glasshouse’, Jersey, 2013.)

It was interesting to reflect upon and compare the work of Sank and Toropstov. As respective IPIR, they were both completely new to the island and had the same time period and access to resources in which to make a photographic response. Although similar in terms style, it is undeniable that through their own personal influences, as well as opinions about island life that the context, intention and direction of their of their work is very different. Sank is far more direct in her photographic responses, whereas Toropstov response is more implied and metaphorical. For these reasons, I would argue that only to a very limited degree, is the work of Sank and Toropstov similar.

 

Bibliography

[1] Syvret. G, The Rescidency, Archilse Website, http://www.archisle.org.je/archisle-international-photographer-in-residence-programme-2015/ (2015)

[2] Syvret. G, Exhibition Text, ACCP (2015)

[3] Syvret. G, Michelle Sank – Insua, www.archisle.org.je/michelle-sank-insula (2013)

[4] Syvret. G, Exhibition Text, ACCP (2015)

[5] Toropstov. Y, Fairyland (Description), http://toroptsov.com/en/projects/fairyland.htm (2014)

[6] Syvret. G, Exhibition Text, ACCP (2015)

[7] Toropstov. Y, Fairyland (2014), https://vimeo.com/105940083 (2014)

[8] Sank. M, Portfolios – Insula, http://www.michellesank.com/insula (2013)

[9] Cooper. J, “Cottingley: At Last the Truth.” The Unexplained, No. 117, pp. 2338-40 (1982)

[10]Syvret. G, Archisle Celebrates Five Years with Quintessence, http://www.archisle.org.je/archisle-celebrates-five-years-with-quintessence-exhibition/ (2015)

[11] Sank. M, Artist Reference, http://www.michellesank.com/ (2013)

[12] Toropstov. Y, Fairyland (2014), https://vimeo.com/105940083 (2014)

[13] Toropstov. Y, Fairyland (2014), https://vimeo.com/105940083 (2014)