Review of Photography
Marzena Wasikowska | Negotiating the Family Portrait
Canberra-based photo artist Marzena Wasikowska has built a name for herself over the years. Since 2000, when she completed her Master of Visual Arts at the ANU, she has had more than a dozen solo exhibitions (as well as being in numerous group exhibitions). Her works are in several public collections, and she also has been publicly commissioned on a number of occasions. Wasikowksa has been successful in various major competitions, including being a finalist in the National Photographic Portrait Prize (NPPP) five times.
Now, Wasikowska has been selected as one of the winners in the 2021 Lens Culture Street Photography Critics’ Choice Awards. Joanna Milter, Director of Photography at The New Yorker selected the series Negotiating the Family Portrait 2011-2021 for an Award. Experts, such as Milter, explored entries from across the globe to select their top three personal favourites. There’s no jurying as a panel; just choices made individually by each of the expert critics.
Images were submitted by photographers from over 150 countries and twenty-one critics chose individual photos and series that captured their hearts. Explaining her choice of Wasikowska’s series, Milter described the images as lively and noted that the artist “purposely captures those instances before everyone is in place. Yet she understands that the presence of a photographer changes everything; even in seemingly offhand moments, her subjects are performing for her camera.”
The ten images in the series have been captured over a decade – indeed it is five of them that have been finalists in the NPPP. Wasikowska says the series title summarises how she thinks about the act and procedure of making family portraits for public viewing. As we all should be, she is keenly aware of the discussions and negotiations of private and public – what to exhibit and what to keep private. She suggests, and I agree with her, that image makers tread a fine line when contributing to the dialogue of family portraiture while revealing something candid but not uncensored.
We have all experienced difficulties taking photos of getting people to smile, not hold fingers above heads, and not hide behind taller folk. Wasikowska has solved those problems. Whilst saying she longs for them to be the actors in her images, she also expresses her hope that each photograph holds the essence of a genuine, personal event, for herself and each of them. These annual portraits of her immediate family are a highlight of her portrait photography, summarising the previous twelve months.
In one image, every family member has brought their year’s story to the table.
In another, one of two young children appears to be struggling in the arms of the adult holding them, most probably longing to be put down and set free to again explore the camera equipment now being used to capture them.
And then another image is filled with visual symbols for the conflicting extremes associated with this dreadful pandemic affecting each and every one of us in various ways; some the same for us all, others different for particular individuals.
It is a delight to see these ten images together. They start with a relatively simple, yet exquisite, image of just two of the family.
Along the journey we see far more complex groupings of much larger gatherings of family members, in which the theatricality and performance style truly shines through.
We are members of an audience. Some may wish they were videos rather than just one still image of a moment frozen in time. But these are the precise moments that the artist selected and wants us to see.