The intimacies caught in Sarah Dinnick’s camera are created through a particular sensibility. Her formal design training produces exquisite images that satisfy our longing for order and a kind of quiet – a peace, even. And yet, there’s something else – pushing against that order – an also-silent eruption of dis-order. From the distance of a moving car, or hidden behind a window, her lens captures the figure in a place, busy and complicated as it may be. Our eye and our imagination work to understand that presence of the figure in the midst of our complicated world. Whether of street scenes, airports, interiors, or rural landscapes, her photographs seem to be eavesdropping on interior life – the hint of an inside, not fully accessible. The distance remains, and so too a longing for intimacy with that other, that difference (or is it sameness). Sometimes the figures are inaccessible in their aloneness – and that is the intimacy we get a glimpse of. We recognize it, as it is also ourselves. The human figure may not be visibly present in the photograph. It may be present only as a trace – in a single chair, a table cloth, or the peeling paint on a door. A vibrant green or orange catches our eye and makes us focus. We are witness to a complicated and fragile beauty of the everyday.

Mary O’Connor
Co-author of Seduced by Modernity: The Photography of Margaret Watkins

 

 

I am an observer of the small, significant moments and whispering voices that hint at solitude, loneliness, or quiet contemplation, whether in the bustling street, a quiet landscape, or an architectural space. Figures fleeting, reflected, and transformed, my images reveal an intimate portrait of contemporary life. My work focuses on the interconnectedness of as many elements and layers as possible, reaching from the distance of the camera’s lens and the density of the surroundings through to an evocation of intimacy.

Sarah Dinnick