In Conversation: Jessie Brinkman Evans and Steve McCurry

A further inspiring juxtaposition forms part of the Leica I centennial celebrations. The works of Jessie Brinkman Evans engage in a photographic dialogue with those of Steve McCurry at the Leica Gallery Melbourne. McCurry is known for his vivid portraits, which are characterised by their extraordinary lighting and profound humanity. Brinkman Evans also plays with light and colour, aesthetically orchestrating the interplay between humans and nature. Her works conjure up contrasts between culture and life's purpose.

Which camera did you use for your photography and why?
For this project, I used the Leica M11, M6, and Q2. In the Arctic, for example, life has a particular rhythm that is often dictated by the weather. That’s why I feel drawn to slower-paced work with the rangefinder camera, three lense,s and the Q2. The equipment I chose allowed me to capture still, mindful moments, while at the same time reacting flexibly to spontaneous situations.

Where do you get your inspiration?
I’m particularly inspired by literature and art. I take every opportunity to observe someone interpreting light and emotion in their own unique way. And my mother was always a great source of inspiration for me: her boundless curiosity and her courage have significantly influenced me and brought me where I am today.

Which image from the selection of works by the LHOF award winner do you like most? Can you briefly describe it?
One of my favourite pictures by McCurry is “Mother and Child at Car Window”, Bombay, India, 1993. The separation through the car window, the emotion of the mother, and the innocence of the child bridge the gap between their experience and ours. The water on the window, the mother’s hand, and the glimpse of her eyes through the narrow gap in the window – all this comes together and tells a story that resonates with people all around the world.

The exhibitions are about a visual dialogue between two generations. How did you approach this theme?
Even if a generation lies between us as photographers and a lot has changed in the way society approaches photography, I see a common thread at the junction of humanity, culture, and community. It is one of the most important aspects of how we move around in the world and come together across borders and languages.

What are the similarities or differences that become visible in this dialogue?
In this project, I wanted to explore the relationship between culture and place within the Arctic communities in Greenland, with a focus on people whose lives are closely linked to the land. Generally, I put a strong focus on light and space in my photography, in particular on capturing the unique colour tones of the Arctic. Although this colour palette differs from McCurry’s considerably, we are connected by our common curiosity with respect to humanity. I think that we both want to explore how people are interwoven with each other and their surroundings. The common thread of our work is the search for the commonalities between people, and the attempt to capture the core of the human experience through photography.