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In the Footsteps of St. Finbarre (Part 116) - In Loving Memory Revisited E-mail
Written by Kieran McCarthy   
Thursday, 15 May 2008
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In the Footsteps of St. Finbarre (Part 116) - In Loving Memory Revisited
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Close-up details

“Hence there are a lot of close-up details. I also try to animate the statuary from the perspective I have taken in many of the photos. That been said, I have also taken pictures of the sweeping vistas St Finbarre’s Cemetery. The amount of established trees in St Finbarre’s makes it absolutely beautiful to photograph in all seasons. In contrast, St Joseph’s Cemetery is almost devoid of mature trees. The only large tree in the cemetery is a survivor from its days as a botanic garden.

 The first photograph on display in my exhibition has the inscription 15 June 1956. Generally, I’ve been careful not to leave identifiable markers to any particular person. The exception to this is the Victorian era where some family names are recognisable. A headstone I photographed was one Henry Adams who died in 1876. It was not my intention to examine personal histories but that particular headstone had a story. Henry passed away at the young age of 34. What makes this headstone even more poignant is that the gravestone indicates the loss also of his five infant children. In other headstones, names are eroded, cracked or broken. You can just about make out the names that are being memorialised.

Difficult photographs

“Another photograph I present is that of a teddy bear placed in the crevices of an old wall. Talking to friends with children, they find these photos difficult to look at, but I feel they are an aspect of cemeteries and as such need to be included. I have an interest in how people leave artefacts, pushing them into the cracks and lining them up on the ground. They are striking subject matter. I have encountered flowers, rosary beads, statuettes, teddies, flags, bottles, shot glasses and wind chimes, whatever is personal to relatives and visitors. I noticed over time that gifts were added on birthdays, special occasions, Christmas. Objects would also be removed from time to time.

When I take the photos, I enter into a dialogue with myself. I use a film camera, shoot few enough exposures and concentrate on composition. What it might look like? What viewers might say? Some people might find the photos moving or be detached from them. I try to be quite forensic. I took the photographs broadly and honestly. People can arrive at their own meaning, personal to them.



 
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