July 2007
Kate Newton – The Talisman Project
I have been harbouring a theory about what makes good art. The experience of meeting Kate Newton and getting to know her, has confirmed my theory. My hypothesis was that the more a work reflects the artist's personality the better the work is likely to be. Artworks containing this quality can give viewers glimpses into an artist's soul (not an easy thing to do and for some artist it may not be good idea). This view into the private world of both Newton and her subjects is what makes the Talisman Project special.
Can you give us a little background to the project?
The Talisman Project started as a way for me to meet people while travelling. I can be a bit shy and this project forced me to make the effort to talk to people. Traveller conversations usually open automatically with ‘Where are you from? Where are you going? Where have you been?’. I'd hit people with ‘Did you bring a good luck charm?’ instead and those who spoke enough English were always surprised to hear it. It led to an interesting conversation, even from the people who didn't have one. I liked how it made people think. And I think holding faith in a talisman is one unifying feature of the human race, it transcends culture, age and gender. I was so scared at the prospect of travelling overseas alone so I bought a couple of stones (blue agate and haemotite) for luck. I was interested to know what other people had done to prepare, psychologically, for leaving the security and familiarity of their home country. The people I have photographed were travellers I met in Chile, Argentina, Spain and Thailand. In Australia, people contacted me after a local newspaper printed some of my images, but mainly I had to hang out at hostels in Byron Bay and chat with backpackers.
I started taking the photos in late 2005 and then forgot about them when I finished travelling. A while ago a mate told me if I didn't try to get published, he would take the idea and run with it. That gave me a bit of a kick up the backside. I approached some publishers and literary agents, and they want to see more - they liked the concept, but (from memory) I was told if an Australian book isn't about cricket players or crime, it wouldn't sell very well, and I'd have more luck with an American publisher. I was also laughed at when I said I was a graphic designer with an interest in photography... might have to work on a nom de plume and false history...
I'm keeping a work in progress while I'm building my website.
Why do you think the publisher thought being a graphic designer / photographer would hinder your project?
It was a literary agent that laughed. It wasn't a nasty laugh, she loved the concept, I think she just expected it to come from someone with more experience. I assume, from a business and promotional perspective, they would want to invest in someone with proven skills. A ‘graphic designer with an interest in photography’ is less desirable than, say, a published author teamed with a professional photographer.
If you were going to have a nom de plume and false history, what would it be?
I'd use something ambiguous for my nom de plume, like initials. Don't know about a history, but I'd have fun with it... probably include a personal joke or two that my mates would understand.
Did you have a spiritual up bringing? Do you believe in God?
My spiritual upbringing was limited to being forced to wear a pretty dress as a child to go to church when my grandmother visited, and being sent to a Catholic high school for a year because my parents thought it would be better for me. I experienced hypocrisy from a nasty year advisor and once got detention for wearing half my summer uniform and half my winter uniform. Christianity seemed so unnatural that I looked into Wicca in my late teens, which seemed to be as equally about ritual and power relations but at least it had more recognition for females and sexuality. I don't believe in 'God', a man who sits in heaven and loves but judges me. I believe a higher power exists that is totally beyond our human comprehension. Organised religion, and new age self help, seem to me to be man-made systems of attempting to understand this power. I don't think we have even come close. But I think its great to have faith, as long as you don't use it to justify starting wars or knocking on my door on a Sunday morning.
Have you experienced much good or bad luck in your travels?
As for luck with my travels, yeah, I had heaps. I got myself into a few situations that could have just gone so wrong. A few times I got into cars with men I barely knew, to go to places I've never been. Each time I had so much fun and got to see stuff I wouldn't have seen had I remained in my own little bubble.
The only bad luck I had was when myself and another traveller crashed a moped in Thailand. I flew from the bike, landed on my tailbone, and grazed my right hand. The other guy was fine. The medics gave me a weeks' worth of antibiotics and painkillers and told me I couldn't drink or swim while I was on them (I only took them for four days).
What are the ingredients needed to make something lucky?
If I had to choose ingredients, I'd say it has to be meaningful, small enough to fit in your pocket and goes everywhere with you. I think the only thing you need to make something lucky is to decide that it is lucky. That's the beauty of it ;) People carry things that hold their attention, be it something random, a religious icon or an object from a close family member or friend. The objects I've photographed range from a rock that stood out, to a Roman Catholic Miraculous Medal that had been blessed by the Pope. I prefer to stipulate the objects have to be things you can keep in a pocket and get through customs. A guy I know has a Shaman stick he was given in India, which is about five foot tall. Another friend has a lucky sheet. I've not decided how to photograph them yet - I also prefer to show the life lines on the subjects' hands, and it could be quite difficult with these objects.