A lesson to self to travel light……. Arriving in Arles from the UK-via Marseilles in sweltering 52 degree heat, lugging too much luggage, then using my broken French attempting to find the bus to the train station, where I arrive to discover no toilet, shelter or anywhere to get water.

There I learn the next train is in 2 hours, and then my mobile suddenly stops working. So, by the time I rocked up to the prestigious Arles Photography Festival to meet my interviewee, an established artist, this paleface was feeling rather ill. And inwardly thinking – ill, really, not now! As well as – get a grip, these are 1st world problems; you are in Provence!

As soon as I got to meet photographer Vee Speers, observe her workshops and chat about her work, I determinedly held back the persistent nausea and dizzy spells, and was rewarded with a preview of what is truly inspired new art for an exhibition next year. Filled with humour, heart, subversion and unlike any of her previous presentations: It is a riot. Edgy and evolutionary, Speers is a chameleon. (And I can say for that day, art saved me! Sadly, it’s all I can say, since the recent work won’t be released until 2023).

Vee Speers

The art of the Australian-Parisian Vee Speers was unknown to me, until I was told of  a ‘ fabulous photography festival’ in France, Les Rencontres d’Arles and where among several photographers in the programme, a single image of hers instantly unarmed, alarmed and beguiled with its beauty and subject. (From the immortal series as below). Such magnetic imagery mesmerised and began a discovery which uncovered her whimsical, witty, at times magical work, but in that delightfully twisted Tim Burton style: kooky and oddball. Which self-aware adolescent doesn’t want to be part of that gang? Evidently Speers has navigated the world of teenagers, with 3 children of her own, evolving in a society where image is everything. Certainly, in contemporary imagery, the photo and subject seem to merge, and where the sitter, staged and stylised, seems far more aware of their own potential and powerful image. Given that mobile phone photography is omnipresent and acts as an omnipotent, almost mythical tool, her current work is in stark contrast to the more traditional photography, Speers utilised when she first started.

IMMORTAL SERIES 2010

While still retaining what had become signifiers of her work – sensuous, sullen, and provocative, Speers’ series of nostalgic Paris black and white nudes in Bordello is her initiation into the wide realm that is-photography.  Nostalgic and symbolic of female Parisian prostitutes from the 1920s, this series is staged, with some taken in-situ in their original 20^th century architectural surrounds, once ripe with those trading in seedy lusciousness. Speers celebrates the closed Maisons of old and tenderly promotes all, with an apparent reverence. Never judging, instead exploring and embracing this world, including the more hidden human desires: Dark or other…..Having moved to Paris in 2001 from down under, an Aussie rawness, fused with the lavishness and decadence of Paris, results in the Avant Gard work spanning 2 decades we see today, for Speers is an alchemist.

With a unique sensibility both for sitter and the setting, she stages role play and contrived stories which weave a narrative. And in the Bordello series, an intoxicating air of suggestibility. These shadowy sumptuous photo portrayals are clearly for the viewer’s pleasure, though the sitter is far from void-of-voice. Playing with seduction, sensuality and femininity, these are hardly passive parlour maids ready to serve the kinky customer. Rather more, they appear like a wild tiger, an exotic creature, vulnerable yet unafraid-despite their encroaching potentially dangerous situation. Poised and positioned to please and serve; they are complicit and confrontational. A male portrayal of this photographic narrative would likely tell a very different story…

BULLETPROOF Series 2013

Primarily in the Western world, we are living in a consumerist, an anti ageing, aesthetically perfectionist and youth driven culture. Perpetually, almost inescapably ON- Thanks to gadgetry and tech. It seems fitting that in the same week the UK government announces new measures to better regulate cosmetic surgery as well as digitally enhanced online photos (*1) they are also being pressed by many organisations to update their online safety bill. Pressure groups such as the Samaritans (*2) whose service strives to prevent suicide and champion the acceptance of societal diversity, are pushing for earlier publication of the bill. Claiming the proposed legislation is highly insufficient and fails to protect people from legal suicide and accessing self-harm promoting content online. According to the World Health Organisations (*3) report 2021; Suicide is the fourth leading cause of death among 15-19 year olds. Trying to navigate a contemporary mobile phone culture where toddlers are practically born phone in hand, zombie-scrolling, and consequently saturated with idealised images. Speers is all-too aware, and in the Immortal series, hyper realist images of pseudo purism are presented in an anti-wrinkle, creepily non decaying and youth obsessed culture that constantly permeates society. In this collection, Speers delivers a conscious platform in what is a relentless obsession with perfectionism. Revealing her astute sensibility on such dystopian, societal notions. This photo-series published 12 years ago, is well ahead of its time. Intent with impossible beauty, whose narrative sees youngsters presented as stupefyingly stunning in appearance (according to to the more conventional societal standards of beauty), reveals imagery that is other-worldly. Staring out from the photo with a fixed gaze, these faces impress with their all too perfectly glossy and ghostly appeal. Seemingly other-wordly, their magnetic presence impacts and unnerves.

The Birthday Party series takes on an age of innocence, and far from a balloon-popping,  game-playing, candy-collecting sweetness, sees armed and petulantly defiant deluded children prepare for a potential dystopia, signalling the fun is over. Captured at an awkward age, these stylised young subjects project a sense of disquiet and macabre melancholia, as though sensing an uncertain future. Such apparent insight confounds and contradicts, as is Speers’ intent. For the observer, at first sight, some images could be interpreted as sexualised. But all is not as it seems. This imaginary party captures a childhood on the edge of a new era, with portraits both provocative and bold, yet hauntingly beautiful. Presented as if they are established classical art historical images, hyper-polished, painterly and ethereal; they frame a far more uncomfortable and potentially post-apocalyptic scene. Confounding norms and reveling in visual and metaphorical ambiguity. And incisively challenges established narratives.

Inevitably there are influences and comparisons which could be applied to her photography style and content such as Erik Madigan Heck as well as Brassai, but unfailingly it is always quintessentially Speers. And unique. Unsurprisingly Speers subject matter attracted none other than fashion icon; Karl Lagerfeld. Who greatly admired the Bordello series. Personally, a face of fashion I would loved to have met. On asking what he was like, Speers enthusiastically describes him as “Incredibly clever and absolutely charming. An extremely lovely person with a generous spirit.” In fact he wrote the foreword to her book. With many museums acquiring her photography and a celebrity following-anonymous and other, her photographs have been acquired by Sir Elton John for his Collection, Michael Wilson Collection, Hoffman Collection U.S. The Carter Potash Collection, Morten Viskum Collection, Alan Siegel, Lawrence Schiller, DZ Bank, Museum of Fine Arts Houston, Museum 21C, Kentucky, George Eastman House, Beth Rudin Dewoody, Hudson Bay Company Art Fund and the CB Collection, Tokyo.

Phoenix is Speers most recent work, where women are her muse. These images offer intrigue and mystery and are simple in their stylised sumptuousness, acting as a vehicle and voice for all womankind, or indeed anyone who has struggled and battled to be themselves. Here Speers’ body of work converges. Ever the provocateur, the riddler, and ultimately the enabler, her ceaseless boundary-pushing, alongside respect for the subject and narrative, provides a magical, allegorical armoury.

PHOENIX Series- 2020

Predictably unpredictable, Speers weaves her way with vigour, flair, heart, humour and rigour. Like most, she has faced challenges, and over time, wryly turned these into innovative images. Ever the observer, with a wily ability to sustain a career in a mostly male-dominated industry, her warm personality and empathy, alongside a piercing, proactive work-stance elicits an admirable symbiosis. Formulating creative approaches ever-relevantly, she is a modern day storyteller. And soothsayer. Creating a contemporary authenticity with a relatable narrative, ultimately representing the oppressed or outsider. We all want to root for the underdog, and Speers boldly does, in past and present photography, not to mention the work due for publication in 2023. It’s well worth the wait.

Which comes first, the idea or the subject/sitter? Any patterns to this or insights into your inspiration? Influences/photographers or other you utilise as a source of ideas and insight?

My ideas or concepts come first. Then I search for the right model or the right face.

The way I choose my model: I’m not looking for perfection or fashionable faces, but rather unusual beauty, the kind of face that you see and you’re immediately drawn to.

So there needs to be charisma, photogenic qualities or attributes-all of which have their own unique beauty.

How did  Lagerfeld come to know of your work/and write the foreword for your book? What was he like?!

He came to my exhibition of Bordello in Paris, said he loved the photos, and so I asked him if he would  write the foreword and he said yes. He was incredibly clever and absolutely charming. An extremely lovely person with a generous spirit.

Quickfore questions

What are you most proud of in your achievements, actual and metaphorical? 

I’m very proud that I have had the opportunity to develop and flourish as an artist in ways that I never imagined possible. While at the same time raising 3 daughters to be mindful and compassionate human beings.

How do you deal with critics or other, misinterpreting your work-does it impact or not? 

I try to ignore them. You cannot please everyone and I am certainly not trying to. Besides, they are in the minority.  Naturally not everybody will understand or appreciate what I do.

 As  artists, it’s wise to concentrate on the positives and not allow the negative to impact. Unless it is something we can learn from. In a male dominated and at times, ageist photography industry, how do you navigate this?

Any advice for others?

The only time being a woman was a problem for me in the photography world was when working as an assistant in fashion and lifting heavy-duty equipment. It was in the 90’s, and there was a preference for male assistants, so it was harder to find work.

As for age, we are either too young and inexperienced. Or too experienced and set in our ways. I probably only felt at a disadvantage when I was younger without enough experience. Today I feel more comfortable with who I am than ever before.

Any secrets you wish to share?

There’s no rush, but working hard and believing in yourself is the key to success. Be mindful and considerate of others along the way. And appreciative of those who love and support you.

If you could get funding to do work which meant you wouldn’t have to worry about money-what would you create and why? 

I would move into more video and digital art as a hybrid with classical photography. We are surrounded by incredible tools as technology brings more and more exciting opportunities.

Do you prefer to work alone or collaborate? 

Collaborating is amazing. It feels so much easier when like-minded  creatives get together. I definitely prefer that.

Is photography an important creative industry in an ever changing society, where digital imagery dominates and makes many former approaches redundant?

Classical analogue photography has become a little like painting in the sense that it seems to be the basis for expanding in so many different directions. The possibilities are becoming endless. Only limited by ideas and the imagination.

If you had to describe your work in only 6 sentences or words-what would they be?

My work is in many ways autobiographical – I drew inspiration for my early work with the children and adolescents from my own experiences of growing up. Later with Phoenix, I express what it can feel like to be a woman, our emotional journeys and struggles. Ultimately my work speaks of empowerment and triumph.

Written by Wendyrosie Scott

Metamorphosis is Vee Speers Retrospective at the Photographers Gallery; London. Until 11/09/22.

www.printsales.thephotographersgallery.org.uk

The Arles Photography Festival runs until 25^th September 2022. Arles, France.

www.rencontres-arles.com

For more info on Vee Spears visit www.veespeers.com

Notations and extra info;

*1 Governmental regs as on 2/08/22 – click here

*2 Samaritans-UK based charity www.samaritans.org

*3 WHO World Health Organisation www.who.int

Top image credit

BIRTHDAY PARTY SERIES 2007 Untitled No 32