Armed with an old 6 x 6 film camera, Annie Colligne is a rising talent making a distinctive and strikingly colourful mark on portraiture photography with her highly saturated images. Born and raised in London and currently Brooklyn-based, Central St Martin’s alumnus Annie has photographed the likes of Charlie Le Mindu, Surfjan Stevens and the late Sebastian Horsley. With an ever-expanding portfolio of images that are imbued with tragicomic mood, her unique and alternative approach to portraiture lies in her ability to juxtapose cheerful vibrancy with unsettling peculiarity.
Unlike traditional portraiture photography, Annie’s subjects are often embellished, even camouflaged by dominant patterns, textures and fabrics. The rapport between subject and object is explored heavily throughout her work; her ‘Linda’ series in particular, contrasts comical adornments with the dark and unusual appearance of her subject, actress Linda Leven. Annie continues to push the boundaries of portraiture in her ‘Project with Sarah May’, a collaboration which sees said set designer shrouded from head to toe in striking fabrics. I caught up with Annie to ask a few questions about her practice.
What inspires your photography?
Annie Colligne: Found photography, going to junk shops, flea markets and pound shops or dollar stores.
What took you to America?
AC: When I turned 28 I suddenly had a bit of a life crisis. I felt like I needed to be somewhere else other than London (I grew up there) and before I knew it I was completely on my own in New York, living in a very strange women's hostel on the upper west side. Initially, I was only meant to spend 3 months here, but I just loved it (NY not the hostel) and didn't want to come back. I am lucky as my mum is American so I have a passport which makes life a lot easier. I just love walking around the city; there is so much to ogle at and so many interesting conversations to eavesdrop on. I find it a lot easier to photograph people here too; people don't question what your motive is, they are just happy you are interested in them.
Are there any recurrent themes in your work?
AC: Yes definitely. An obvious one is colour: I love the contrast of intense colour with a slightly off, sombre atmosphere. I'm also very into costume and general body adornment; I really like objects that interact with the body. I like my photographs to have a bit of mystery to them too: that is always what I find interesting in other people's pictures.
At what age did you pick up a camera?
AC: I probably started taking pictures properly when I was about 17. My dad was quite into photography so he bought me a developing tank. At first I was more into the process of developing, but then I realised I also liked composing pictures. After that there was no turning back: I knew pretty much straight away that I wanted to be a photographer.
Who is Linda Leven and what does she do?
AC: I met Linda in the street in New York; I had just moved here and was looking for a project. I was walking down 5th Avenue and there she was, wearing a gold leather jacket and a Jackie O headscarf. I asked her if I could take her picture there and then, and she said if I wanted to take any more she was up for it and that's where is all began! Linda used to be a ballet dancer but spent most of her life working for IBM. Now she does a bit of acting and modelling for artists; she and her boyfriend really enjoy photography and do shoots together on the weekends for fun. I just love her slightly gothic look contrasted with the bright colours she wears.
What’s your cure for a creative block?
AC: I think a cure for creative block is to at least start something, even if it's a bit half-arsed — you never know what it might turn into.
In your opinion, what is more important in photography, technical-training or a creative eye?
AC: I think having a creative eye is way more important than technical training. There are so many photographers now and with digital lots of people's work is starting to look the same. You really need a creative eye to make a photograph your own. It's not like being an illustrator, you can't just draw something in, you are dealing with real objects and people and making others see them how you do is a difficult task. Having said that, it is handy to be technical as it can open up new ways of working.
Are you working on any projects currently?
AC: I am discussing a little portrait project with Julie Verhoeven that I might shoot in the next couple of weeks: I want to photograph her and her surrounding as I think she is amazing. I'm also working on a little still-life side project involving some old human hair I bought in a junk shop and I want to continue taking pictures of Linda as I hope to make a book out of them at some point.
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