Amelia Phillips

Illustrations
Keith Arnatt
Amelia Phillips

(Name of image is unknown)

‘Notes from Jo’
1991-1995

Camilla Catrambone
Grandma Ilva, Mario’s wife
Portraits of my family
2013
Amelia Phillips

Edouard Sepulchre
Paris
Colour Cube
2015-2016

Peter Watkins
Taufe
The Unforgetting
2011-2014
Amelia Phillips

Within this essay, I will be investigating the question of ‘how photography can capture moments and
objects that may have been forgotten’ and how different photographers bring their perspective to this
topic. I find this interesting because of the fragility of memory these days. Our lives are swarmed with
busy schedules and having more possessions than we need, leading us to discard of memoirs and
objects as we think our memory can hold onto them forever. But as we grow older, certain
reminiscences become blurry or are blocked out by newer ones. The other aspect I think about when
raising the discussion of ‘forgotten’ is those who feel unnoticed and unappreciated by the rest of the
world, this could be people of places which loom under the ‘forgotten’ radar of life. Under the
illustration title above are four photographers, each with an individual message, who I feel have
significant links to my investigative question. Camilla Catrambone and Peter Watkins have similar
approaches of photographing family objects and creating a more personal connection with the images,
and hoping to do the same with the viewer. Whilst the other two, Keith Arnatt and Edouard Sepulchre,
have more abstract methods towards creating a scene which may have slightly less of a striking
personal impact but leaving the viewer more intrigued with the message behind it. Perhaps reading the
Amelia Phillips

piece of writing, or title of the series would help to give the viewer an idea of the context behind these
photographers’ images. In the course of this investigation, I expect to delve deeper into the context of
these photographs and also how the curator was able to capture something which would lead them not
to forget.
First off, Keith Arnatt, whose series named
‘Notes from Jo’ I have chosen to relate to my
question linked to the forgotten. This
sequence of photos shows the scribbled
notes from his wife Jo between 1991 and
1995, leaving somewhat blunt orders for
him, so he would not forget to do a task. I feel
that there is a comedic sense to the notes as
they often contain sudden outbursts of swear
words, exclamation marks and jokingly
condescending remarks. However, there is a
moving backstory behind the photos, which
tells us how Jo became ill with a brain
tumour through the period where Arnatt was
collecting the little pieces of paper. She
subsequently passed away from this tumour,
leaving a memorial aspect to the series, as they act as a way of remembering this part of their life. When
reading the numerous notes, Arnatt allows you to appreciate their energetic relationship which ensures
her life is not forgotten, ‘Notes from Jo’ radiates her witty personality and allows us as viewers to see
even an ounce of her joy. This presumably gives Arnatt a sense of fulfilment and peace, as he doesn’t
have to desperately make sure her name lives on. This set of pictures does that for him, and acts as a
memory for him that will always be present even if the notes were lost. A theory by Marianne Hirsch
explains how digital media is an act of remembrance. She uses the term ‘post memory’ to define a
particular kind of memory that is ‘connected to its source not through recollection but through an
imaginative investment.’ Suggesting that we add on bits and pieces that may not be true, to an existing
memory, maybe as a desperate approach to stop us from forgetting at all. This could also be done as a
way of comfort, as we may imagine things they want to be, in order to shield ourselves from negative
past memories. It opens up a new element of memory, which takes us beyond a direct connection to the
event and allows an imaginative side of our brains to conjure up recollections of something which didn’t
exist. It is debatable whether this can harm humans or not, as it fades away the truth from certain
situations.
An article about Keith Arnatt states:
1
‘Arnatt was adept at isolating small details of life and making them noteworthy simply by that
isolation.’
These notes were a ‘small detail’ of their life together, perhaps if his wife did not become sick then the
notes would be of less sentimental value and maybe have even become forgotten themselves. Within
this collection of images, Arnatt hopes to remember Jo by remembering times she tried to make him
remember things. All around, this piece is about memory, and failing to forget precious times. Arnatt’s
work showed me how the complexness of an image does not matter, as long as it holds a meaning or
serves as a memory. The simplicity is possibly what makes it better, as you are able to delve deeper into
1
Rob Townsend. (2018). Research: 'Notes from Jo' (Keith Arnatt). Available:
https://robtownsend.blog/2018/06/13/research-notes-from-jo-keith-arnatt/#:~:text=Notes%20from%20Jo
%20(1991%E2%80%9395)%20by%20Keith%20Arnatt&text=This%20set%20of%2018%20images,wife
%20between%201991%20. Last accessed 13th July 2020.
Amelia Phillips

the importance of it, rather focusing too much on what is in the photo. Also, by isolating Jo’s Notes on a
plain background it almost represents the significance of them as it needs nothing else in the frame. The
notes are all that is needed, and the meaning follows them. Often the smaller moments of life tend to go
unexamined, what Arnatt has done is taken these and made something personal and thought provoking,
leaving the viewer with an experience and perhaps a more conceptual view on photography. That is
why I think photography is often more than what is just in the frame.
The second photographer I have looked into is
Camilla Catrambone, whose still life series
captures some of her families’ cherished
belongings. The series is called ‘Portraits of my
Family’, although unlike you would think of
portraits, she photographed each family
member’s favourite objects in an organised
manor. Perhaps they show the individuality of
everyone’s past and how these possessions
allow Catrambone to remember each person
for who they were. Similarly to Keith Arnatt,
Camilla Catrambone may know more behind
the meaning of each of the objects, making it
more personal. Whether she reveals the details
of the meaning or not, the viewer still gets an
insight to what the world of Catrambone’s
mother, grandmother and two grandfathers
was like. This ensures they are not forgotten
but instead have a visual obituary of their life.
When looking at each portrait, an image starts
to construct itself in my mind, of a space where
all these objects were once in action, whether
this be glasses on the grandpa whilst he’s on
the telephone, or grandma Ilva’s needle and
thread sewing up a hole. These objects help to
bring the individual back to life in a way which
doesn’t even need to show their faces. Building
a picture of someone without them being in the
picture can be hard to achieve, but Catrambone does this in a delicate, thought out way, which provokes
your own emotions. This is because some of the items may be nostalgic to you and your connections
with someone who is no longer here, it could help to un-blur the memories you had forgotten.
Something I also thought about when looking at this series, was what peoples collection of items would
look like now a days. Would it be filled with technology and gadgets or still be bursting with personality,
reflecting someone’s likes. I think a lot of people would agree that most of us nowadays are very fickle
minded and that any chance of getting the next best thing, we would take it. This mind-set makes
becoming attached to things very hard because there is simply not enough time to form memories with
an object, as before you know it, your interest is on something else. Nothing quite has the same
sentimental value these days, and I think that as the years go on, and life becomes more fast paced, if we
are not careful our still life photos like Catrambone’s, will be empty of any character. This will make it
easier for people to be forgotten.
Amelia Phillips

Next is Edouard Sepulchre, who I

think has an alternate way of
approaching the ‘forgotten’ field
of photography. He has many
collections of images but I have
chosen to focus in on one called
‘Color Cube.’ It is a series of
landscape images from the
outskirts of Paris, perhaps places
you would think of as mundane
and unexciting. Sepulchre moved
beyond the city centre and chose
the fringes of the city to capture
something which absorbed him in
a different surrounding. He states
that the classic Parisian scenes
never really interested him, nor the modern architecture, yet it was these ordinary places that sparked
his interest. These scenes are left being unidentifiable, you don’t know where in the world they are, and
Paris probably wouldn’t be your first guess. They are unidentifiable because everyone focuses on the
historical, grand sculptures and buildings that Paris is most known for. In this sense, these are the
forgotten towns of Paris and ones you wouldn’t think exist. This is partly due to the media and how they
portray a whole country under one stereotype, for France it is the elegant boulevards and tiny coffee
shops which one may associate with it. Throughout the world these days, the less attractive places and
things are left to one side, even though they may have stories and gems of their own.
As Edouard Sepulchre wrote on his website:
2
‘When these images are concentrated and compiled in a series, it creates a new reality – an imaginary
city.’
I think this is exactly what his work envisions, it stretches your imagination and gives you a view of the
overlooked, forgotten parts of the world. Something I think brings more of a reality to this piece of work
is the people along the zebra crossing. It really shows that even though most people are unaware of the
existence of this habitation, there is life present, and it is a home to many people, somewhere they will
never forget. Color Cube really made me think of how different people from different places look at the
world, and that something which is forgotten by someone, may be full of memory to someone else.

2
Edouard Sepulchre. (2015-2016). Color Cube. Available: http://www.edouard-sepulchre.com/#/color-cube/.
Last accessed 21st July 2020.
Amelia Phillips

The last photographer who I am briefly going to discuss is

Peter Watkins. I came across his series ‘The Unforgetting’
which was provoked by his mother who committed
suicide when he was 8 years old. The Unforgetting
examines both his German family history and the trauma
which still surrounds the loss of his mother. His intent was
to gain a better sense of what happened in his youth, by
diving into things his mother was associated with,
whether this be about memories that others had with her,
her possessions or the place where her body was found.
As you grow older, your earlier childhood memories
become more clouded in your mind, one simply cannot
remember every aspect of life they have lived. This leads
to forgetting certain memories of someone who may not
be here anymore, so as you become more aware of what
has happened in your past, it can be grounding to revisit
places and objects which were linked with that being. For
Watkins, he uses photography as a subjective form of
storytelling to piece together fragments of his mother’s
life. The image in the illustrations above, ‘Taufe’ meaning
baptism, shows the dress his mother was baptised in. Black and white is associated with nostalgia, so
ultimately connects with whoever is looking at it, it may throw you back to a memory you had
forgotten. The dress has a ghostlike feel to it, as it eerily floats lifeless, with the mesh curtain behind
which extenuates the fluidity of it. All of the objects are ordinary, yet ones we all have, so we can
immediately link our personal history to them.
For me, I think it is important to build your memory as this allows your character to grow, I want to be
able to grow old and recollect over earlier memories to younger members, not only to pass down
history but to ensure I am not forgotten and in turn, appreciated. Photography can allow this to happen,
not all objects survive the battering of life over the years, but photographs are much more permanent
yet can hold the same value of emotion. During this investigation, the most prevalent thing I have found
is that the context behind the photograph is what is most important. That meaning could be what
sparks a hundred different memories which were lost in the depths of someone’s mind but also allows
the photographer to ensure the person or thing in the image is not forgotten. Photos are often
memories of meaningful moments that are more valuable to us than anything else. It may hold the last
thing someone has left of that person, something irreplaceable. Thinking about the next step within this
project, I am thinking about looking into some peoples own experiences with memory and how they
remember, or don’t, certain people, times and places. Memory and forgetting is something we all fear in
life, but there is so much complexity to it that holds great power, and this is what I want to explore.

Bibliography
Amelia Phillips

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https://www.dazeddigital.com/photography/article/31797/1/the-photographers-capturing-unseen-
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Edwin Coomasaru. (2014). Peter Watkins The Unforgetting. Available:
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Eduoard Sepulchre . (2015-2016). Color Cube. Available: http://www.edouard-sepulchre.com/#/color-
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Keith Arnatt. (1991-1995). Notes from Jo. Available: http://www.keitharnatt.com/works/w73.html.
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a life which has been lost, which then becomes another kind of life, one whose presence or absence is
conjured up in various states of remembrance.”