P&C interview: Sophie Harris-Taylor / by Sergio Díaz De Rojas

By Kamryn Koble

Sophie Harris-Tyler is an accomplished photographer whose personal work brings indescribable human emotions to light.  She grew up in London, and relied on her camera as a means of self expression and interacting with others – photography became her niche in the world.  Continue reading Harris-Tyler's interview to learn more about her as a creative individual.


Tell us about discovering photography, and any other artistic mediums you have explored in the past. 

I was studying fine art but realised quite quickly I was almost only using the camera as a medium to create work and was always drawn to the work of other photographers. I switched to the photography degree the following year. This was when I started to understand photography within the context of art.

What is your vision for your project M T W T F S S? What inspired you to create it? 

I never set out to make this project, these were the pictures I began taking of my close friends and loves and the places I’ve been and stayed over the past 5 years. The work is a diary of sorts, it’s not chronological but it’s a record of the insignificant moments, which make up our daily lives, it’s pretty autobiographical and in essence it’s about relationships and intimacy. 

I only decided to publish the work after being approached by a gallery for a solo show – I felt like after 5 years, this could be a suitable chapter. At the same time I started working with a graphic designer with intention of making a book. The project really came together quite organically. 

Now working on Chapter 2, I don’t feel this project will ever really be complete – I think this takes the pressure off trying to achieve the perfect image.

Are there any particular places, people, musical artists, scents, or atmospheres that invigorate your creative process? 

I find the people closest to me incredibly inspiring, and a lot of my work is created when I’m away spending intense amounts of times with friends. These private moments are really important and for me make up a big part of who I am. At the same time, I’m interested in the places I stay and the countries I visit. From one hotel room to the next a lot of my work will capture a specific time and place. And like most images become a memory. I recently came back from Poland and realised when I got my film developed that I barely had any shots of actual Poland, it was more bathrooms and hotel rooms and bed sheets!

What emotions do you wish to evoke in viewers when they examine your work? 

For me, I’m particularly interested in capturing aspects of people which I can relate to, showing the strength in vulnerability is something that occurs throughout my work. Inherently I think this brings out qualities of intimacy and empathy. Also my work is about the relationships we have within ourselves and the relationships we have with others. 

Tell us about your film project with Keaton Henson. What was your original vision and how did it develop? 

With the Earnestly Yours Video, I worked with my partner creating the film, Keaton really gave us free reins with the track and it was again something that came about quite organically, we started listening to the track on repeat and we started filming without really having a solid idea or plan where we were going to go with it. This was the first thing we directed together and we didn’t have a team, we’ve done quite a few since then and have definitely learnt a lot along the way. I think the music itself is pretty powerful and we wanted something simplistic and emotive to go with it but still with some kind of abstract narrative. 

How has your style and work evolved as you grow as both an individual and an artist?

I think, as I’ve grown older, through life experience I’ve become less interested in capturing my life and more interested in capturing other people’s. I think also growing into myself the work now comments on its subjects more than just showing. 

If you could give your younger self one piece of advice or wisdom, what would it be?

The Helsinki Bus theory is pretty good. And also to not try to please people with your work, make it for yourself, not everyone’s going to like it. I think as well it would have been good to know that I will almost probably never be completely satisfied with my work – and that’s no bad thing.  

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You can find Sophie's work at her website, and on Facebook, Instagram and Twitter.