January 2008
Peter Sutherland
Peter Sutherland is a photographer and a filmmaker. His first feature documentary Pedel, was a film about NYC bike messengers. His second documentary focused on celebrated photographer Tierney Gearon. Heavily involved in graffiti and skateboard culture, Sutherland worked as director of photography for Helen Stickler's skateboarding documentary, Stoked: The Rise and Fall of Gator. His book Autograf was a look at New York City's graffiti writers. His most recent book Buck Shots explores his fascination with deers in an urban environment. Born in Ann Arbor, Michigan, raised in Colorado and living and working in New York City, Sutherland's photography documents his life and the subcultures that surround and fascinate him in a very real, honest and heartfelt way.
Your recent photos seem to be much more reflective. Their significance less obvious to those that do not know you. Tell me about what you are interested in at the moment?
These photos are from a trip to a family reunion (Alabama, USA) I took about a month ago, so they are a little piece of a big project that is photographing my family and loved ones. Many of my favorite photographers do the same thing. I like photos that reveal access to something unique, and each person has their own version of a family, this is mine. I've been photographing my brother for years, he is only one year younger, he looks like me, and we are very close so its an interesting personal project. I'm making photos that I would have thought were lame when i started shooting, it's fun to feel my interests shift, I'm getting older, listening to mellower music and taking wimpy photos, hahaha.
I made a pilgrimage to Ludlow street when I was in NYC to checkout the site Alleged gallery was on. That Harold Hunter video at Ed's Alleged show is great. What can you remember from that night?
I came to NYC in 1998 so I don't think I ever saw the Ludlow location, that footage was taken at the Washington Street Alleged. It was exciting, NYC was new to me and it was my first exposure to art in a gallery setting. I saw a Terry Richardson show there, Mark Gonazales, and many others... Ed seemed approachable and I asked him if I could do some filming. I was shooting that footage with the intention of contributing it to 411 Video Magazine. They didn't use it and now it lives as a quicktime. That was a cool little moment, shooting the Harold footage is probably my favorite moment about that evening. I'm always fascinated with how people relate to imagery and Harold's perspective on Ed's art is priceless.
What was it like making the Tierney Gearon documentary? How has that experience effected your work?
Tierney is an amazing artist, she can pull stunning images out of thin air that others can't see even if they are standing right next to her. Making the film was an exhausting process and a lot of work but I feel lucky that it happened and that we got it done. I would say it's affected my work in a few ways, she inspired me to shoot more and shoot everything. She tends to set things up, this is something I almost never do, seeing her do it made me realize that I'm better at working with what is already there and not as interested in directing people. Her energy is perfect for that, I work better as a fly on the wall.