blood sports
Et In Arcadia Ego (2016) by Oliver Eglin
For London-based photographer Oliver Eglin, bullfighting represented both an unknown quantity and an intriguing cultural heirloom. Travelling to Seville’s annual April fair – a weeklong festivity culminating in nightly bullfights – the Royal College of Art graduate immersed himself in the culture, culminating in his series Et In Arcadia Ego – named after a painting by French artist Nicolas Poussin.
Juxtaposing the spaces used for bullfighting with the ruined remains of an ancient Roman amphitheatre in Italica (the ruins of a Roman settlement on the outskirts of the city), Eglin explores the role of the spectator through time, riffing on man’s voyeuristic urges. Shifting focus away from the visceral nature of the controversial sport, Eglin documents an alternative mise-en-scene. Capturing his subjects in serene moments of self-reflection, his images riff on themes of mortality and humanity.
Presenting his work at the RCA graduate exhibition this weekend, we caught up with Eglin to chat about his travels and how his work reflects his experiences.
GALLERY
Alex James Taylor: What was it about bullfighting and Seville that first piqued your interest?
Oliver Eglin: Last year whilst writing my dissertation one of the themes that I picked up on was the depiction of violence and warfare in both photography and literature. I was reading Cormac McCarthy’s Blood Meridian where there is this incessant cycle of bloodshed that is deliberately unyielding and repetitive. It was the idea of violence incarnate that intrigued me and I began to look for physical traces of this in the landscape. It is hard to say exactly when bullfighting entered into my thoughts; I think that we all have some latent image of it embedded in our minds, whether that be from art history, Manet or Picasso for example, or popular culture. Being British I felt on the one hand a kind of distance to the subject, culturally it was very remote from anything I had experienced, and yet there was this resonance of something which seemed somehow familiar.
“I was reading Cormac McCarthy’s Blood Meridian where there is this incessant cycle of bloodshed that is deliberately unyielding and repetitive… It is hard to say exactly when bullfighting entered into my thoughts.”
Et In Arcadia Ego (2016) by Oliver Eglin
AJT: Can you tell us about the way you composed your images and what you wanted that to portray?
OE: The framing devices I employed were specifically designed to trigger this awareness in the viewer of their own position to what is represented in the frame. So, for example, in the image of the lone bull in the corral I deliberately included the edges of my viewing window (a cement wall built to protect observers from the bull’s horns) within the frame of the image. This positions the viewer directly within the mise en scène, you are no longer on the outside; it is about challenging the position of spectatorship and how complicit you are as an observer to an event. Even in framing the physical prints for the show I was thinking about how I could add to this idea; by including the celluloid border that surrounds a negative within the print itself, it was a conscious attempt to refer back to the very nature of photography being this window into another world.
Oliver Eglin: Et In Arcadia Ego runs until Sunday 3rd July (12-8pm every day) as part of the Royal College of Art Degree Show 2016.