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An Interview Turned Conversation 

With Louis Stopforth

Written by Victoria Louise Doyle





Inherent to the idea of residing is Place.


Place emerges when space and time interlace and the two bind to form a knot. This knot functions as a marker, forever held at the particular position where this occurred. 


Nowhere is this more palpable than in photography. 

I suppose one should begin at the beginning, but I’ve never been very good at that. I’m more of a middle outwards kind of person that way there needn’t be a beginning or an end. I am aware that this seems a futile feat and rather ridiculous to mention given this text does in

deed have a start and a finish. However, I would like for you to consider this: if one treats the start as an opening, as that which enables access to rather than initiates then the act of reading can become one of admittance. And so I shall drop you off here, in the eye.


Taking the idea of residing as our central point, I submitted to L that we crystallise what is understood of this and then move as we are taken.


Of course it would be easy to say that residing is about the place relative to where I live, sleep or work but more often it is something that I debate within my practice. For me it is more about securing a moment for the viewer in which they can experience a work of mine, something that is often determined by the physical placement of the piece itself. Therefore there are two kinds of residence for me: one in which the object of the work resides physically and one in which the viewer resides in the experience of it. Both of these are relatively temporary but to me being in residence is not determined by a specific amount of time, it can be very brief, likewise it is not specific to ourselves but also inanimate objects. 


This contextualising of residing outside of the domestic offered a series of alternative avenues to pursue.  I turned towards one knowing it would lead me to the other.


L and I had been in touch a number of times prior to this. I needed more information to assist in situating myself within the realm generated by L before conducting the interview. Alignment is rather important. Plus I require a generous amount of contact in order to form a clear reading. During one of our written communications L suggested discussing materiality and spatial residence as developing factors within his practice. I emailed back enquiring if he could elaborate upon what was meant by spatial residence. He replied: 


Spatial residence in terms of photography is about the relationship between the physical work and how it engages with the space it is presented in, or even observed in for that matter. Whether the work is wall hung, propped, draping down onto the floor, sculpted, or even moulded to that environment they all have a way of residing in that space because, after all, they are physical objects.

To read more of the interview, purchase a copy of the printed magazine at

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