Cig Harvey’s photographs encourage people to look at the old in a new way, in order to realize “how wonderful the world can be”. In an interview, the artist explains what connects all of her works.
Cig Harvey’s photographs seem like snapshots. As if they were created in passing. In fact, there is often more to it than that. Harvey chooses her image sections with great care, introduces people to the scenery and waits for the decisive moment – sometimes for years. Then an image emerges naturally.
This supposed spontaneity is an essential part of Cig Harvey’s visual language. Because of her, the artist’s world remains ours, even though it appears more colorful at first glance.
Cig Harvey does not intend to mislead the viewer. Rather, she challenges him to compare this seemingly surreal environment with his own in order to find similarities. Because if you look closely, you will see that the fullness of life is by no means reserved for Harvey’s pictures.
Works by the artist have been on display at the Bildhalle in Zurich since September 1st. When walking through the exhibition, a magical world opens up to the viewer, which may appear surreal at first glance, but also familiar at second glance. In an interview, Cig Harvey explains why this is so.
Cig Harvey, let’s start with the cover of your current exhibition in Zurich. How did it come about?
Every time I drove to the garden center to buy new plants for my garden, I had this image in my head. I ended up borrowing a friend’s old Volvo and loading it up with rose bushes.
Actually, the picture shows an everyday situation.
I am interested in the magic of everyday life.
When we talk about it: tell me about your everyday life. You live with your family in the American state of Maine.
We live near the coast, very rural and connected to nature. I have a studio at home right next to our kitchen. The immediacy or connectedness of life and work is desired. So I can work on something and scurry into the kitchen to make coffee or pet our dog.
The nature you are surrounded by is also a recurring motif in your work. What does she stand for?
Flowers are metaphorical. The moments I try to capture are often fleeting. Nature doesn’t conform to my schedule. I just have to be in the right place at the right time. My photographs are therefore often about change or transience.
Let’s take a look at this picture right here, which is very appropriate for the season right now.
I’ve been looking for the right apple tree for this motif for years. Then I finally found him last year. It was loaded with apples, perfect. This year the same tree bears half as much fruit.
Her pictures often also show people. They don’t work with models, but with family members or friends. For example, in this picture here we see your daughter. How does she like that?
Oh, she loves it. When she comes to an exhibition, she proudly positions herself next to a picture that she shows to communicate to everyone: “By the way, that’s me!” I prefer working with people I know. The picture then looks even more personal.
What is striking here in the gallery: Although your exhibited pictures come from different creative periods and books, they harmonize with each other. The picture of your daughter in the snow is from 2017. It’s hanging next to a bowl of cherries you took in 2007.
I believe that another motif, besides nature and transience, that links my photographs together is sensuality. With my pictures I want to show how wonderful the world can be. We are all linked to her beauty.
Again, we have a combination of images that go perfectly together. Does this wisteria grow in your home?
I wish! I took this picture two miles from home. I was feeling uninspired that day, so I got in the car and drove around. Then I passed this house. I knocked on the door and the owner opened it. She told me she planted the wisteria thirty years ago. This year it blooms for the first time. I organized a model and pulled out a dress I had bought in a boutique ten years earlier. Everything fit perfectly.
Does it happen that you don’t plan anything? Can images just happen?
Absolutely. This one for example. The shapes, the light – I just had to capture this one moment.
I suspect that the technical aspects of photography are less important to you.
I started taking photos when I was 13 years old. I’m 49 now. Taking photos isn’t as difficult as many make it out to be. A camera is just a tool. Like a pen. You just have to choose a pen that works well. I just need a working pen.
We’ve talked a lot about photography, but your books also consist of text elements and illustrations. So are you a photographer or an artist?
If I really think about what I am, I already call myself an artist. But photography was my first great love.
The current exhibition in the picture hall shows works from your five books that have already been published, but also unpublished works. When can we expect your next book?
I don’t know exactly yet. I usually need about four years for a project. So maybe 2025. I trust the process there. My pictures will tell me when it’s time.
To person
Cig Harvey – Artist
Cig Harvey was born in Great Britain in 1973 and now lives in the US state of Maine. Her first book, You Look At Me Like An Emergency, was published in 2012. This was followed by Gardening at Night, You an Orchestra You a Bomb, Reveal and Blue Violet. Harvey’s photographs and books are in numerous collections, including those of the Metropolitan Museum of Art, Yale University and the Houston Museum of Fine Arts. She had her first museum exhibition in 2012 at the Stenersen Museum in Oslo. Her works can be seen in the Bildhalle in Zurich from September 1st until October 22nd.