There is an overwhelming sense of anonymity in Lisa Eade's photography. Whilst the ordinary becomes the focus of her subject, it is in her facility that the simple becomes the striking.
It is easy to find similarities between Eade's photographs and those of German born Uta Barth. Like Barth, Eade refuses to merely shoot a subject of interest or inherent beauty, preferring to fashion intrigue through the everyday object – be that a pegged clothes line, a telegraph pole or simple ripple of water.
Eade approaches her images as a painter, placing heavy importance on the boundaries in her field or 'canvas'. Calculated cropping is used to create semi-abstracted forms. Rarely can a horizontal or vertical line be found. Instead, we are presented with intensely angled compositions. While this heightens drama and tension within the image, it also sets out to allude.
By removing her subject from a known context, the viewer is lured into becoming the story teller. With little to suggest location, time and circumstance these images test us into responding through experience. This process of reduction is seen further in her reluctance to title the work. Direct referencing makes way for the most basic numerical labels, systematically denying the viewer of any clues as to what, why and where.
There is little doubt that Eade has a deep fascination with light. It is used as a tool for not only providing depth of field, but as a subject itself. In '10' bands of light bisect the image into sections. The repetition of the streetlight's halo effect in '3' mimics that of its effect on the power lines themselves - dissipating in the darkened sky and leading the eye throughout the entire image as if searching for an end point; a destination of reason.
In '2', the most obvious work of the series, we are introduced to a rundown setting. The rust stained ledge and security grate suggest looming threat. The dilapidated sign bares dated products, indicative of the burgeoning isolation in a once thriving community. These nighttime images are imbued with melancholia and are somewhat reminiscent of Todd Hido's brooding suburban work.
Although we are teased with small sections of precision in '7' and '8', it is the blurred depths that deceive us of the exacting details, and entice our questioning. These clever manipulations of depth of field, framing and focus impact the way her environments are perceived, and demonstrate Eade's comfort within her medium. It shows that she is not content with just the image itself, but the processes required in arriving at that image.
This series of rich, saturated photographs provide just enough detail to ensure that we are never lost from; rather, take respite on the edge of our familiarity.