The art of abandonment, decay and running from security guards

Artist Gina Soden's series 'Retrogression' goes on display in London tomorrow

Matilda Battersby
Monday 05 November 2012 19:04 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Artist Gina Soden is obsessed with abandoned buildings. The more likely it is to fall down, the better. The looser the wallpaper, the sadder the state of repair and the more likely she is to encounter a mad guard dog, security man or whizzing CCTV camera, the more exciting.

She scrambles through holes in fences, hides from angry guards by burying her face in mud, and clambers into buildings with more warning and hazard signs than remaining window glass.

While photographing the rotting splendour of a derelict Victorian asylum she got in trouble when a “very scary” Alsatian dog sniffed her out.

“I was confronted by a barking dog and a very aggressive security guard who accused me of breaking and entering which of course I never do. I had found my way in through a board which had simply been propped up against a door frame,” she says.

“I was pretty annoyed as he wanted my memory cards and he had called the police...I quickly stuffed my memory cards in my pants when he had his back turned to ensure my pictures couldn't be erased.”

Soden’s photographs have a stillness and quiet drama about them in contrast to the tales of derring-do that gave birth to them. The buildings chosen represent the heights of ambition, ornate architecture, military compounds huge wealth and family life relegated to ruin by neglect.

She gains unlicensed access to take her photographs – but denies “breaking and entering”- which adds a time limit and urgency to her creation of them.

Her work could be described as the art equivalent of "found footage": it is documentary in style, featuring objects, buildings and situations that existed before she came upon them, but which are stylistically her own have an almost painterly quality.

Each piece, reflective of the demise an institution or great manor house, tells its own sad story.

From running from security guards to hiding face down in the mud, read more stories of how Gina Soden came to make her art.

Click here or on "View Gallery" to launch

Gina Soden: Retrogression is exhibited at The Groucho Club, London from tomorrow

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in