Photos in San Francisco-based artist Stephen Albair's new book, The Beginning Anticipates The End The End Anticipates the Beginning, are a visual journey that only takes natural sunlight, a 42-year-old Nikon and lots of knick-knacks.
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Some of Albair's tableau photos in the book were previously displayed in Bangkok in 2008 and 2011, yet all serve to provoke long-forgotten memories. Flipping through the photographs will evoke a dreamlike jumble, yet not one without its share of eerie juxtaposition, thanks to the kitschy figurines in unlikely settings. As the name of the book suggests, it's a mind's playground where something is about to happen or already has — with consequences to follow.
The 73-year-old artist, who first started out in the thriving art scenes in Chicago and New York during the 70s, makes an interesting point how autobiographies should be considered fiction, because the human memory is but a fickle temperament we make it to be. His photos may not be a straightforward reflection of his own life, yet touch on the universal themes of love, loss, loneliness and human behaviour along the way. Just like the wonders and mysteries of the intricate human psyche, The Beginning Anticipates The End The End Anticipates the Beginning provides a fascinating open-endedness that can mean just about anything to anyone.
What was the drive behind creating this book and the title it has?
Looking back at my work and considering many of the ideas behind my images, I became aware of how important beginnings and endings were to my work and my personal life as a working artist. I was always drawn to open-end concepts that embodied beginnings and endings. This is how we mark our time on this planet, understand our religious convictions, view personal relationships, successes and failures, in a very short life.
Your work has a feeling of warmth but also an unsettling creepiness at times. What has been the creepiest visual you've ever seen that comes to mind when 'eerie' is mentioned?
How Dare You Not Be Me!
My creepiest experiences are by far are my dreams and the realities of everyday living. I am a news junkie and listen to the radio more than I watch television or videos. Nothing is more horrifying than the news that is broadcast to us in real time, 24/7.
I see a world in which people are moving away from each other, disconnecting from each other and embracing the synthetic experiences provided by the media. Our obsession with selfies, Facebook and an assortment of diversions from real human experiences is truly creepy.
Do you ever hope to have a complete understanding over the human psyche, forgotten memories, life's ambiguities and the unconscious?
I am very suspicious of anyone that claims to understand the meaning of life or life's ambiguities. Recalling memories is vital to our survival. How I looked at my life, when I was a 20 year old high school dropout serving four years in the military, is very different than the way I look at life today. Memories of childhood, adolescence and early adulthood are potent reminders of our identity. We recall experiences in very strange ways, often reinventing what actually happened. As an artist, I've had the privilege of reinventing myself through my work. This is why I believe that all autobiographical writing should be considered fiction.
This book was dedicated to your twin sister. How has she influenced your artwork and life?
My sister was born one hour and five minutes before me and to this day reminds me that she is older! We are the same but different and very close. Our difficult young life together formed a bond and toughness that few people understand. Jeanne [my sister] showed me the importance and strength of women while remaining my equal. This gave me a way of thinking through a narrative with a female voice, as well as with a masculine one. Gradually the images became more open-ended and accessible while retaining a quality of ambiguity. The final photograph has the feeling of being personal with layers of information pertaining to a narrative. This is a process in which an idea goes through several stages and influences, including my experiences as a twin.
Where do all your figurines and props used in your photographs come from?
Usually, I go looking in junk shops and antique stores for objects. Bangkok is a great source and an adventure. Often friends will offer objects that they find or no longer treasure. Usually I start with an idea and consider what objects might work to express it. This also works in reverse, in which I find an object that prompts a personal memory and the narrative takes flight. All objects carry meaning. When two objects are placed side by side they create a dialogue between each other and may even trigger a serendipity. An important idea that I try to keep in mind is the use of ironic humour to set the tone for the narrative.
Has growing up with dyslexia and in foster homes left an influence in your artwork?
My childhood with and without my sister was profound and made us both stronger and better equipped to deal with the world. We overcame many difficulties but none was quite so traumatic, for my sister, as the separation at eight years old while in an orphanage together for a year. Boys on one side, girls on the other, and a wall in between. Separation anxiety was always paramount in our life together. However, I want to emphasise that none of my images are illustrations of any of my childhood or adult experiences. Although it's true that my personal life plays into the mix, it only triggers ideas for creating images. I hope my viewers will experience similar feelings as they contemplate the layers of information built into them.
The Beginning Anticipates The End The End Anticipates the Beginning
