INTERVIEW WITH:
CHANEL IRVINE
Exploring the Power of Connection and Positivity Through Photography.
In a media landscape often dominated by bleak narratives, Chanel Irvine stands out with a mission to tell stories that inspire hope and action. In this interview with Cluster, she discusses her dedication to solution-based journalism, focusing on communities striving for change, capturing everyday beauty, and highlighting individuals committed to social and environmental sustainability.
Through her lens, Chanel offers a counterpoint to negativity, aiming to reveal stories that celebrate resilience, connection, and the enduring power of humanity.
Hi Chanel! You mention that solution-based journalism has inspired your approach to visual storytelling. Could you elaborate on how this influence shapes your photography?
I am one of the many people that is easily disheartened by the seemingly increasing amount of ‘negative news’ we are fed on a daily basis. Whilst I believe that people need to be informed about the many issues the world faces, I believe that focusing on the solutions to these problems (or at least those working towards solutions) is significantly more instrumental in inspiring action and change. For that reason, I endeavour to make my photographic stories and documentary projects as uplifting and empowering as possible. I am working to shed light on the people who are working towards change and in doing so can inspire others to do the same. In this way, I believe it is possible to shed light on problems that need our attention and provide an empowering visual documentary story. Similarly, I hope that my more personal work spreads a little joy upon viewing it, by focusing on quiet and reflective scenes of everyday beauty. Ever-fascinated by the relationship between people and place, I use stillness and scale to highlight scenes that might otherwise be overlooked. Ultimately, I hope that my work as a visual communicator will reflect the positive power of humanity.
Many of your projects focus on communities and environments affected by development and environmental pressures. What draws you to these subjects, and how do you select the communities you work with?
As a photographer I think the best way to connect with your projects is to actually have a connection with your subject matter first. The people and places I photograph will already have had some impact on my life before I go to photograph them. This is what draws me in: because their stories have had an impact on me, I hope that others will connect with them too. I photographed the Green Belt area of Kent where I live as the threat of development was a very real issue for our community a few years ago. My Icelandic friend invited me to visit her family (lovely multi-generational farmers in northern Iceland) which became my project On the Farm. When I was living in London I lived on the same street as Café Van Gogh, a vegan social impact which provided on-the-job training for people with learning disabilities. This inspired my commission for SUITCASE Magazine, Café Society, where I documented the work of several social-impact hospitality businesses in London. Essentially, I am drawn to communicate relatively untold stories of people and practices that, to me, embody the importance of contribution, connection and community.
Hidden in plain sight, Self Portrit
Your personal work seems to have a nostalgic quality, capturing scenes that feel timeless. What draws you to these moments, and how do you decide what qualifies as “timeless”?
Sometimes I think there is great value in not being local to a place, as it helps you see it with fresh eyes and approach it with the enthusiasm of an eager tourist. When I moved to England from Australia in 2018 I was immediately struck by the quintessential landscapes and architecture which I had previously only seen in films or read about in books. So, to me, the ‘timeless’ moments are the ones that are reminiscent of the ones we might have encountered in an entirely different time period or which don’t reveal anything about which year we are living in: people staring at the sea, children wading through a shallow river or building a sandcastle at the beach, families enjoying a picnic in the park or kites being flown on an overcast day. Of course these timeless scenes are not exclusive to the UK - we can find them anywhere if we look hard enough. The only obstacle that tends to obscure these for me is when my subjects are all scrolling on their mobile phones, which clearly timestamps the moment as belonging to the 21st century.
With environmental and social sustainability at the heart of your work, what do you believe is the photographer's responsibility in portraying these issues?
Committing to understanding the issues you are documenting - through talking (at length) to your subjects or doing any additional research to inform yourself about the work that they are doing. It is crucial that you spend the necessary amount of time to ensure that your project is a genuine reflection of the people who you are photographing and their collective mission. Integrity, authenticity and connection are paramount.
What do you hope viewers take away from your work? Are there any misconceptions you’d like to dispel about the communities or issues you document?
I hope that viewers feel joy or hope when they look at my photographs. I hope to remind them of the easily overlooked beauty of the everyday or to inspire them to support the work that people are doing to make a social or environmental impact in their communities. If nothing else, I hope that some people can at least feel some small connection to my work. If someone relates to my work, I have achieved my goal. My more personal work is equally as important to my practice as the documentary projects and whilst some might say those photographs are very ‘ordinary’, that is precisely why I believe they are important. I want to encourage people to look at the world around them with awe and gratitude, regardless of how simple the scene might be.
“I hope that viewers feel joy or hope when they look at my photographs. I hope to remind them of the easily overlooked beauty of the everyday or to inspire them to support the work that people are doing to make a social or environmental impact in their communities”.
Your work requires a deep connection with the people and environments you photograph. How do you balance being an observer with becoming part of the community you're documenting?
I always endeavour to build a relationship with the people I photograph first. This means not taking my camera out until I have spoken to them at length, learnt more about them and their story, and ensured that they feel comfortable with me and my approach. Once I feel that we have connected well and that we are on the same page with the project, I find it much easier to take on the ‘observer’ role as they go about their work or interactions.
Thank you for reading,
Alexandra, Ema & Cluster Team.