Letting Art Speak
Eva Gallagher (CFA ’19), a sophomore graphic design student, discusses how a class assignment captured a movement.
by Brooke Yarborough
How did your passion for photography begin and how has it flourished in your time thus far at BU?
I’ve always been a very visual person, but I discovered photography as a freshman in high school after taking a class on analog cameras and darkrooms. From there I continued to take courses at both my high school and at Harvard Extension School, gradually improving my portfolio and advancing my technical abilities. Since being at BU, I’ve been exposed to a wider spectrum of photography, whether that be in the context of design or journalism or installation work. As a second-semester sophomore, I can definitely say I’m developing my own voice as a photographer, and having the opportunity to photograph events like the Women’s March or protests in Boston has given my work a sociopolitical dimension I want to expand on.
What are your favorite subjects to photograph and why?
Ever since I began taking photos, I’ve been very drawn to strong shadows, silhouettes, and geometric shapes. My portfolio includes cooler tones as well as black and white images, primarily because it’s a palette I find both complements my subject matter and is visually compelling. Though I hope to experiment more with color, I find it can distract from an emotion or from making a statement in some work — particularly in photographs such as the ones from the Women’s March. I’ve recently started to photograph street life more, and I’m enjoying the challenge of capturing how unpredictable people can be.
You photographed the Women’s March in the Boston Common. What were you aiming to capture in these pictures? Is there one that is your favorite?
Last semester my final project for Greer Muldowney’s Digital Photography class was a large format, black and white series documenting the recent political protests in Boston. Though the project had already been completed by the date of the Women’s March, I wanted to continue to participate in the movement through my art so I grabbed my camera and headed to Park Street on January 21. I was aiming to capture pockets of emotion within the mass of people that attended. By finding these intimate moments, it calls attention to the reality that these are real people who will be affected by this presidency in one way or another; not merely numbers on paper or posts shared online. If I had to pick one, my favorite from this series shows an elderly hand holding the sign “Stand United Against Hate & Fear” through a bus window.
As a CFA student graphic designer, what is the primary artistic vision you have in mind when exercising your photography skills?
When I’m taking photos, I think allowing myself to experiment and capture anything that catches my eye is essential to my process. I think some of my better work includes shots that were fleeting moments, and if I hadn’t gravitated to that particular subject in that time frame, the final piece would not be the same. Ultimately, it’s about giving yourself the mental space to mess up, but also the freedom to explore.
Do you approach photography with the idea of making a statement or are you instead trying to let the subject make the statement?
I avoid imposing statements on my subjects, particularly since mood, facial expressions, and body language are revealing in themselves and offer lots of visual clues as to what is being communicated. I think this is why I’ve become more curious about street photography in the context of protests — the subject is entirely in control of the statement being made and they’re in an environment where their passion for a particular issue can be vocalized, making for very emotional images.
