Corinne Perry’s photography is a form of therapy, a personal, emotive and sometimes turbulent struggle with the complexity of emotions. Life and art have become intertwined and to bury this mind set deep within her would only allow it to thrive. But through the use of her photography, she is offered a sense of catharsis. Corinne studied photography at Birmingham City University graduating in 2012 and currently resides within the West Midlands (UK). Her work is currently on exhibit at the Beaney Museum, in Prescriptions, an exhibition of artists books on illness, healing and wellbeing.
One thing that stands out as hugely important to you is process. You often work with film and hand colouring. How did this come to be an integral method in your practice?
I have always preferred the look and feel of traditional photography, so this influence is what really started my use of film. The tactile and sensory nature of traditional photographic methods enables me an intimate and hands on connection with my work. The hand colouring was influenced by my interest in Victorian photography, as it was at the height of its popularity during the period. I enjoy hand colouring as it enables me to add further layers of both emotion and pain upon the surface of the print, until the image is born.
Your projects focus on using art to embody emotional experiences. How do you usually go about starting a project?
Whilst at University and going through an emotionally difficult time, I felt a compelling need to express my emotional state and began producing my project Misery. Since this my projects have started naturally and upon instinct, each project flowing on from the last. Often the first stage of a project is to begin by distressing/constructing the interior, as to enable it to become a metaphor of my pain. The photographs and concepts usually flow on from that.
How important is catharsis in your work? Do you feel you can move on from an experience once a project reaches an ending?
Catharsis is deeply entwined with my work, with it being the reasoning behind its production. The end of a project is always incredibly therapeutic, and I have been able to move on from some experiences. I feel the continued production of my work is enabling my mental state to transform into that of a more positive nature.
What is the importance of producing work in the same location (your bedroom) and putting yourself within the frame?
My bedroom is the keeper of my trapped and repressed emotions. There is a sense of safety within this interior that enables me to feel safe to explore my emotions in front of the camera. It feels very natural and instinctive to place my body within the frame, as without this physical act I would not experience the same sense of catharsis.
Where do you draw inspiration from?
My work both conceptually and aesthetically is deeply inspired by Charlotte Perkin Gilman’s Victorian novella The Yellow Wallpaper. A gothic novella, that tells the story of a women’s descent into madness after she is confined to a bedroom. Emotionally I feel a connection with the novella and would say it has influenced my work more so than any other photographer.
How do you see your work developing?
At the moment I am continuing work on my ongoing projects Wallflower and Melancholia until I feel these projects naturally come to an end. I then hope to produce work that builds upon the exploration of my childhood, focusing on how I feel my emotional state is entwined with this period of my life.