touch- a definition

touch: definition by Peter Ross- Anthropologist and Animateur;

 In his photo series touch, Evans explores the boundaries between subjects. He instructs them to take his hand and place it in the frame of the photograph and by doing so explores the cultural and psychological limits of connectedness. Some take his hand and keep him at a distance while others are prepared to take him into their bodies, literally. The viewer is invited to reflect on the limits of physical contact between strangers, both in its cultural and gendered context, and to explore their own thresh-hold of acceptable touching.

  touch also challenges the conventions of photographic portraiture. Evans is both subject and photographer as he invades the space of both the sitter and the image. His intervention blows apart the separation of the artist and subject, they can no longer be discrete, and the viewer must consider Evans' influence over the sitter. This work embodies Evans' belief that all his photographic portraits have himself as the central subject and that the images he produces of a sitting are a record of an event in which he is central.

 If you would like to contribute comments or texts on touch please email me at touch@gavinevans.com

British Journal of Photography

 Interview by the esteemed British Journal of Photography on the making of the 'iconic image'.

 This face is haunted by the aching spirit of Kevin. Society plucked him of everything, his one eye is constantly on the look-out. He was wheel-chair bound for purgatory before he found salvation in the church and the support of The Big Issue. I crouched next to him and fixed on his nomadic eye. He tells me he has a kid! Grasping my hand, he drew me to his toothless cavity and gasped "Naebody shud suffer fae poverty...'specially children." No matter how many copies of The Big Issues he sells, he always keeps enough aside to sponsor his child. This is the closest it gets to family for Kevin - a progress report from the other side of the world. Kevin's hope is that he can help free someone else, if not himself, from the snare of poverty. 

 I was speechless, my head ached from the sudden impact. How do you balance the altruism of Kevin against the hell-bent motives of celebrity child-snatchers?

 

This touch photograph is striking- compare it to the 'portrait' above. Kevin momentarily surfaced for the image.

 

 A wee laddie popped up and asked what I was "up tae?" His name was Robert, one of Jock Tamson's Bairns - a curious kid who could steal hearts as easily as cars. In a call-booth, holding his phone, he took my hand and put it to his ear -

Is anyone listening?

Glesga Gudfellas

 Time's running out on the meter and Joan's lament is running through my head. Inside the car; engaging the key, my concentration was shattered by the rapping of a sovereign on the windshield. Peering back at me, like a scene from Jurassic Park, was a face unaccustomed to refusal. "Let me try oot yer car," came the order. I got out to clarify what I thought he said. Like a silk snake-belt he slipped around me and into the car. "Just as well I hung on to these" I said, dangling the keys at him. "Thaat's shite son, s'no fer me". As he got out and turned to walk away I called him back - he owed me. He fixed me through his reactor-lies and growled "Wha?". "Your turn to repay the favour - I get to shoot you." He gladly conceded, adding "In the past I'd a had them oot yoor mouth if I'd a caught you round here" (I have two discreet gold caps).
 

This was Ian - Glesga Gudfella and former safe-cracker. The cut of his jib was razor-sharp. The Paisley cravat, he explained, was his colors. Ian is the Glesga forefather of the Crip - a Clydeside Crip. Back in the car my focus was broken again, this time Ian and three of his associates were deriding my motor. Once again I took the key out of the ignition. "Introduce me then!"
Ian read out the role-call like a well versed brief:

First in line grins Billy. These days he's putting a different smile on the faces of Glasgow.
 

Jimmy's enthusiasm for misdemeanor is replaced by a wise, calmer demeanor.
 

 'One Hit' Willie stepped up to the mark. "What was the song?" I teased. "A swan song, one hit an' you'll no be coming back" Ian clarified.


  The Gudfellas were on the street, smoking and regaling the glory days of honest crime. In their sobriety they had found self-respect, something they couldn't extract by fear or extortion.

Saltmarket Suffragists

 Dawn had clipped the last blade of grass on the Pyramids as I pulled into a hung-over Glesga. The shutters were coming down from the watering holes as the Saltmarket started to percolate with briefs and thieves. I'm outside The Big Issue's Glasgow distribution point. From the pavement to the counter vendors queue patiently to collect their badges, get their pitch and stock up on the latest edition.

 Over the Roma-Weegie babel I caught the perfectly pitched "Are ye the guy fae London?" I interpreted that to be me as I was motioned under the counter. I surfaced to meet Lisa, a sonsie las who's bite is no contest for her insanely profane bark. She re-directed me again - "John's ootside havin' a fag". I tunneled back under the battlements and on to the street where John Duffy (distribution manager) was savouring the last draw before casting aside his dowt.

 

John(Duffy) Distribution Manager, The Big Issue

He's been working since 5am, overseeing delivery of the new issue to centres across Scotland. John is eminently qualified for the post, the years he spent surviving the streets instills respect and trust in his vendors. To them he's much more than an aspiration.

 

Martin (Hackett), Sales Development Worker, The Big Issue

My guide for today's tour of Glesga's inner-city pitches is Martin fae the Southside. Martin's quietly spoken and tolerant of my scatological tendencies.

 The first of the vendors I'll come to meet is serenading the commuters at Central Station. Joan 'Queen of the Big Issue' greets and sends them on their way, lifted by her cry. There's "no problem. Of course," I can photograph and record her "nae problem at all".

 Taking hold of my arm I guided her inside and recorded her song. Joan's joyful rendition of the Disney classic conceals a painfully modest plea; "to be like yoo..." Her cry is a street lament.

(play to hear Joan's cry)

  After 'touch' she whispered "I wanted tae warm ma'sel on you". Joan is a breathtaking affirmation of the life-line that The Big Issue provides. We left the blind VIP, exposed and at the mercy of the jungle.

 A succession of street-level suffragists painted their story, determined not to be erased, no matter how much they were blanked.

Billy

Raymond

Matt

The homeless have an acutely different awareness of 'personal space'. They are disfranchised from a society that takes the security of a home as a right. Their comfort zone is intuitively ring fenced by mistrust and disappointment. With 'touch' they can personify their boundaries without fear of misinterpretation. There's no coercion, their vulnerability is respected, not exploited. They decide whether to expose their identity or delete their image.

While writing this entry the music of Magazine broods in the background. Devoto sneers "So this is real life."

- you're telling me.

Peter joined- in the spirit!

Heart and Sole

 

I'd heard the rumours, I'd never believed them.

For over 20 years I've walked, staggered and driven past this place- my dry-cleaners is next door. I thought it had been evacuated in a panic; leaving behind a dust encapsulated flash-frame from the 50's. I had to do a double-take, but for sure there he was, fixated, gazing over the barricade of post-war posters. Rooted to the spot with a Gerry can of glue in one hand and brush in the other, stood the Myth of Merchiston - Jock the Cobbler.

 I made my move, entering his world before he evaporated. It was as if I'd fallen into a nail-bar trash can. Classical music squeezed out of tin speakers like Camembert through a cheese-grater. When my eyes had done flushing I stood over him like Chewbacca towering above Yoda. I introduced myself like someone who'd come from the future. Jock craned his head and looked at me as though I was the curiosity!
 He's "been here the whole time. Fifty year an' mare". He only ever ventures into in the shop-front to deal with the customers. The magic happens in the back; where he guards his secret of longevity. Further investigation revealed that Jock turns 90 in two days time. He stuck his glinting eye on me and demanded to know where I'd got my information. I wasn't going to grass-up my source - Jean from the cleaners next door is a woman not to cross.

 Jock tells me being 90 has it's drawbacks: when trying to buy travel insurance the broker hung up when he told her his D.O.B was 1919. "My kid's didnae gae me a party when I turned 80" he rued, "so I dinnae see 'em fussin' o'er 90." I tried to envisage his kids! "Still," I irk him "he's got a letter from the Queen to look forward to in his old age". He rose to the bait and took great delight in beheading my jibe.
 

  When I asked him to be photographed he held my wrist like he was taking my pulse. I think he was checking if I was for real.

Big Issue

  The Big Issue magazine had seen the ActionAid poster, checked out my site and wanted to run an article. Instead of rolling out more of the 'infamous' portraits, The Big Issue took me up on my proposal to photograph the vendors. This was an opportunity to develop 'touch' and shirk the 'Celebrity Photographer' moniker from my back.
 

Big Issue vendor 'Lonewolf'

 In a recent edition I read of a self-made Celebrity photographer; a mock-star and his £2.75m creative home. For a moment I thought I'd wandered onto the pages of Vanity Fair, then I remembered my vendor, Lonewolf (pictured). People presume that, because I've incidentally shot some celebrities, I too am a closet narcissist with all the trappings. They confuse me with someone whose freedom to explore and scrutinise is impugned by fashion. I am as much a 'Celebrity Photographer' as Katie 'Jordan' Price is a 'Literary Genius'. My subjects are not measured by star quality, each is treated with the same deference and respect. My impediment is my stubborn inability to suffer fools- or conform. 
 The Celebrity Photographer made the distinction clear, defining his process as neither; thoughtful, considerate or intelligent. Sandy Hotchkiss puts it nicely; those who provide narcissistic supply to the narcissist will be treated as if they are part of the narcissist and be expected to live up to those expectations. In the mind of a narcissist there is no boundary between self and other. If I must be labeled, how about (for now) 'Independent'? It compensates for my dilettante tendencies! 
 The Big Issue have flagged the upcoming shoot with the caption: 'Poster Boy...Celebrity Photographer!' I can tell it's gonna be a long climb.

Professional Photographer Spread

The Professional Photographer feature- October issue.

Multiple Exposure

Multiple exposure- click on the images to view full-size.

 It was another dreich afternoon in Auld Reekie and I was drookit. Through the nebulous har I could make out the glow of a twisting barber's pole. Before I knew it I was peering through the salon window. Behind the precipitation and condensation I could make out a cluster of Oriental fashionistas.

 So, this is how my hair-brain logic went: I've got straight hair - so do they. Cool cuts are top of their hip list of priorities ergo they must know this is a good hairdresser. I was in need of a hair-whisperer with flair and this could be my man. I stuck my head in the door and and was greeted by deafening silence. I asked if I could make an appointment. A teenager translated my request into Cantonese and the hairdresser nodded. "Aye come back in an 'oor", she confirmed. For the next 60 minutes I kept wondering if there'd be anyone to translate. How would we communicate? The shop was empty. Jet tumbleweed floated across the floor. "Hi" I said, "Hey" he replied– we were off the starting blocks

 He was called Liam, a solid Celtic name. And that was it - we were now looking at each other through the language barrier.

On a table was a stack of hair menus. A trichological feast of mullet served with assorted mega-waffles, crimps and crinkles. The unwitting victims tried to hide their embarrassment under their hair-raising creations. Their clenched grins couldn't disguise the fact that they knew what we were thinking. Although tickled, I was not tempted by any of the specials.

  Liam guided me by eye. Locked on like a Sidewinder I tracked his trajectory to a red chopping block with porcelain basin. "Was" I followed his instructions to the missing letter. I submitted my neck to the basin where he proceeded to was(h) my hair. Sitting on his chair he lowered me to ground level. Gestures to the ready and noises in reserve, we set off. Liam is a Zen Master of the scissors. He beat my crown and calf licks into submission. Another was', a final cut and blow-dry and voila! The logic worked, the haircut experiment was a resounding success. 40 minutes out of the ordinary on a miserable day, all for just twelve quid.

 That was four years ago and Liam had just arrived in the UK. He was lured from his wife and son to work 60 hours a week in a Scottish side-street clip joint. In Hehehot, Liam led a team of 12 stylists in a fashionable salon. An ocean of hair has been swept under the linoleum of time and since that first encounter we have remained friends.

And the charge? Still 12 pounds.

What price a haircut?

Bunny Munro app

Something I've come across- a funky app with my photographs. Nick Cave's Bunny Munro is now available to download.

The Scotsman

The PR team at ActionAid contacted the Scotsman paper. Their 'Spectrum' magazine want to feature the HungerFREE campaign and run some portraits. My interviewer Ruth (Walker) turns out to be an enthusiastic and tenacious sparring partner. We met at a neutral location that serves the best flat white in town- Peter's Yard. Before she has a chance to whip-off the gloves I drag her outside and insist she does 'touch'. She puts up no resistance.

Over breakfast Ruth asks me why I loathe being tarnished with the title 'celebrity' photographer. Celebrity photographers are a recent phenomena- like WAGS, X Factor contestants and Labradoodles. They're a pernicious breed that hadn't been conceived when I started out. Me, I celebrate everyone in my own, idiosyncratic way.

I don't know what to believe anymore, but it's in print in the Scotsman so it must be true- I am "Scottish".

ActionAid Finished Poster Image

Finally finished the ActionAid campaign image. A week of preparation, three days shoot and three days in post-production. Within a couple of hours of the charity approving the image Design Week requested to run it. This came as a surprise as I hadn't anticipated acknowledgment from the design community.

Professional Photographer

  Grant(Scott) wants to interview me for an upcoming issue of Professional Photographer. I met him twenty years ago, back then he was a talented and courageous magazine art director who commissioned me regularly. I would always present Grant with images that would scare him witless, before pulling out the safety-shot. We had an unspoken agreement; as long as he got his photograph, I could, and must, do my thing. I kept smuggling out my booty under the hemline of a shot that would stop him reaching for the nearest bottle.



 Grant's career has gone from art director to published photographer and now he has been appointed Group Brand Editor/ editor of 'Professional Photographer' magazine. I've come to think of myself as an 'Independent' photographer and, although he agrees that the title 'professional' was tenuous, Grant thinks it's time got some exposure.

 The questions he conjured made me out to be someone with integrity and determination. Loaded terms like 'incredibly powerful' and 'without compromise' suggested I'd achieved a level of notoriety! I had to choose my words very carefully.

Click here to read the article...

ActionAid

 A couple of weeks ago got a call to pitch an idea for a charity campaign. On the 16th October, ActionAid were going to launch HungerFREE and needed an image to spearhead the campaign. They fired reams of facts and figures at me. Their goals and intentions were achievable and irrefutable. The challenge to communicate the severity of the crisis whilst satisfy the requirements of the many involved and associated parties was daunting.
 An image of hands holding a bowl containing chains of manacles in place of food, was chosen from the 14 ideas I put forward. A bowl of handcuffs, sounds simple enough, all I had to do was paint them, link them together and shoot 'em. Add a bit of digital alchemy, hammer home their slogan 'Free the Hungry Billion' in bold type and I'm done.
 The receptionist at the novelties suppliers thought she had taken a hoax call when I ordered a hundred pairs of cuffs. When they arrived I linked them together and piled them up only to find they lacked any impact. So I called back the suppliers. "I need more, another two hundred pairs should do it." She had trouble keeping her composure over the howls of incredulity coming from her colleagues in the back.

 Next stage; prime three hundred pairs of handcuffs in white, then spray them yellow. A colleague at ImagineArt (art-therapy service) kindly offered me the use of their recently acquired studio to make my mess in. For four days I joined the chain gang, sweeping up and down the lines of manacles with Roots Manuva's 'Witness' on repeat.
 My solvent trance was broken on day 2 when a señorita appeared through the mirage. She was a dancer looking for rehearsal space. Her smarting eyes squinted over a respirator made from a Hermes scarf. Through the manacle barrier she inquired “Do you know that in Spanish the word for handcuffs and wives are the same?” Before I had time to digest this paradox she blurted: "You must come and see my collection of handcuffs!" Did she mean her "harem" was my inappropriate repartee. She evaporated - a chagrined chica.

Last Stand

 My body's telling me it can't take anymore and submits to my pathological sense of curiosity. The Edinburgh Festival officially ended last night but the comedians want the final laugh. Making my way down the stairs to the club I'm struck by a back-draft of sweat and jocularity.

This is the last stand - a rare opportunity for the comedy kindred to convene at the Stand Comedy Club. Seymour (Mace) is on the decks and is spinning old skool toons while

Simon (Viz) Donald tears up the dance floor like a Bigg Market stag.

The elusive Daniel (Kitson) is playing photo ping-pong, returning the volleys of flashes from behind a fistful of cd's.

The bar is free and besieged. In the crush I eyeballed Reginald (T.Hunter). "Sure" he's up for touch. Outside in the the dreich dark we commandeered a lamppost and I listened as his mellifluous tones syringed my aching ears.

The arrival of a mischievously half-cocked Mick Moriarty (Gadflys) was my signal to split.

Fin - Edinburgh Festival 2009

 Tonight started with a show at the Forest Cafe. My old mate from squatting days in London, Matt (Bowyer) is in town. Usually Matt's acting on the stage or in front of the camera, but for the past week he's been working the faders for Station House Opera. He knew the performer who'd got a 4-star review the night before, so we were feeling optimistic. The audience was a mix of hysterical students, culture vultures and bemused parents. Sat next to us was a fifty year old translucent Goth in open-toed sandals and white tube socks. Precariously perched on his pate was a testament to the remarkable fixative powers of Elnette. He was reviewing the show for some on-line magazine that we'd never heard of and now wouldn't subscribe to. The show was free, the laudable policy of the Forest The applause fell like summons. co-operative; just give an appropriate donation. But the show was bad, 4-star bad. I'd have gladly paid not to have endured the relentless onslaught of public humiliation. For the duration of the performance we sat thinking what we'd do if we were sentenced- shoot first. If it wasn't for Matt's misplaced sense of loyalty we'd have high-tailed it long ago.

 Next stop- the British Council party at The Mansfield Traquair Trust, a beautifully restored Catholic Apostolic church at the foot of Broughton Street. Cliques of artist and dignitaries orbited the vast nave as the PA smashed school-prom-pop off Traquairs exquisite murals. The young things danced like Simon Cowell was judging whilst the adults flayaled like science teachers. The sonic debris rained down like flak, massacring any conversation. After an hour of being evaluated I'd witnessed enough.
 I decided to break-up the retreat via the Forest Cafe and found Tom (Morris) holding court. On the rare occasions we meet Tom always loves to berate me in public and, tonight was to be no different. So that he doesn't have to keep recalling the story I'll tell you it now-

  You see, Tom blames me for steering him off course and landing him where his. It was 1995, he had his career mapped out and prospects were good, but he had a dilemma. Tom had taken a long shot and applied for a lofty post at a prestigious but waning theatre. He didn't know if it was the right thing to do but gave it a punt anyway. To his astonishment he had just found out that he'd been selected for an interview the next day in London - problem. We were in Singapadu, Bali, dining out on a menu of dragonflies and bee grubs - the boat didn't sail for another 4 days. He consoled himself in the delusion that he'd never get such an eminent position at his age and with his lack of experience. Besides, they'd have to reconvene just for him, it was never going to happen. How did he know they wouldn't give him an interview? I told him to extract his pontificating finger out of his postulating backside and get word to them, what did he have to lose? He found a telex machine in the jungle and sent a message explaining the circumstances.

Tom got back to London and yes, they reconvened, and yes; he got the job. I've watched on as his illustrious career has soared. He is now the new Artistic Director of Bristol Old Vic and Associate Director of the National Theatre.

 I apologised to his somewhat bemused company for being the cause of his predicament. Conversation turned to the show they'd just seen. I remarked how brilliant the performer was but, because he's a freakin' lunatic on stage, remarked you wouldn't want to live with him. One of his guests tensed and fixed her glare on me "what do you mean- precisely?"

 She was his ex and he was on his way, and I was out of there.

CockfightKetcha

Gavin Evans | MySpace Video

 A 30 minute audio recording made back in 1995, Singapadu, Bali. A circle of men, divided into two opposing groups, chant the Ketcha. The performance took place next to a road as tut-tuts put-putted by. It was a hot and tortuously humid night. The heavens opened but didn't dampen the spirits.

12.30 Saturday night. The phosphors and the phosphenes are fusing - time to set the computers to standby. I'm on course for six hours flat when the phone rings. Sally(Homer) is tempting me from the other side, she has an innate talent for knowing the whereabouts of a good time. A group of Dutch comedians she's been publicising were having a party and the absurdist Hans Teeuwen would be there. I'm sold so I reset my coordinates for the front door and slip into the night. Entering the destination into my phone I set sail and let Captain GPS guide me to port. This night Cptn GPS had too much cyber-rum and couldn't decide which road to dock. I looked like Pac-Man, pacing back-and-forth, illuminated by the glow of the screen. A cabby came to my rescue with The Knowledge and the Captain walked the plank.

 This was Edinburgh Polite Society cordoned by laser wire. A hotel clings to one corner of the avenue a like a defiant carbuncle. At weekends it's pre-marital contents slosh out of the bar, arms locked together for balance, as they serenade the Merchiston curtain-twitchers. 

After several attempts on the bell a face from a Breugel canvas beckons me in. In synchronicity his moustache signs his name- Evan(McHugh). Evan's a comedian, the only comedian not of Dutch extraction- he's an Aussie-Scot. I followed him up to the action.

On the stairs I'm introduced to Wilbert (Han's technician)- a dude with rock-roadie-charisma and clothes that screamed out for cowboy boots. We kept scaling the Axminster until we reached the summit. Taking a deep breath I take the plunge. I had crashed a de-briefing session. The room was littered with spent comedians on the come-down from last night performances. They welcomed me warmly with "Hay's" and introduced themselves like a primary class roster. 

Hans(Teeuwen) is holding court, squeezing the last laugh out of every vowel, still unable to face the comedown. Hans scats with Bird as Charlie Parker crackles through the laptop's speakers. I'd seen Hans a couple of weeks ago and found his humour a breath of fresh air. In a world where alternative comedy seems to have become paradoxically homogenised it takes someone like Hans to be the prick that bursts the soap bubble.

Wrapped around him, like a freshly plucked feather boa, clung his chick Eva. She'd walked straight off the set of a Renault ad and Han's was not Papa. Eva was the prize of rock gods- half his age, painfully perfect and in full bloom.

Leaning out of the four storey window, infusing the night air with blue smoke was Live Producer Laura (Clarke).

Martijn (Koning) began to obsess over 'touch'. What started out as an innocuous request had turned into a revelatory monster. He kept reading meaning in the images, extrapolating until the frustration welled in his forehead.

Kees(Van Amstel) used the hand for comic effect.

Sander's (Van Opzeeland) smile?

Everyone reveled in Martijn's astonishment when the photographs were set to 'slide show'. They gasped and howled as they analysed each other's revealing response to 'touch'. At 5.30 I reversed out of the cab and suggested that Hans should call me if he ever needed my professional services. Eva's purr turned to a growl as she tightened her claws. "What?" she snarled.

I forgot in the cava haze that she was a photographer too - and she had exclusive rights.