Craig Campbell
M.A. (Anthropology)
University of Alberta, Canada



There are times when I'm greatly dissatisfied with photographs. Part of this dissatisfaction arises from the way in which they are so convincingly real. It is, of course, widely known that what is photographed is a construction. The scene that is captured is a fragment. Framed as such, it excludes the entire world. Everything that exists outside of the frame is lost to the viewer.

Despite this the image is so appealing to our senses that we tend to forget this fundamental point. The necessary action is the flipside of the implausible. It is the sensuously real. We are thus asked to suspend our belief in the actuality of the image. It is a constant effort not to be lulled by sensuous appeal of the photograph.

So, how is such an uncomfortable visual representation to proceed? Comics, of course. Beginning from a negative position,, -one in which the audience is already suspect of the veracity of the representation, one in which the author/artist is always tied to the pen that produced the work- the audience is asked to suspend their disbelief in the denegrated medium and make their own critical connexions to that which is being represented.

The selection presented here is from my 1999 comic "the Corporation Muck-Cart" where I depict both the interview process and a childhood story told to me by Vera Walkinshaw who emigrated to Canada from England as a young girl.