{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O107907"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O107907/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2017KE0496/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2017KE0496/","_alt_iiif_image":[],"imageResolution":"low","_images_meta":[{"assetRef":"2017KE0496","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KE0494","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":null},"record":{"systemNumber":"O107907","accessionNumber":"E.726-1993","objectType":"Photograph","titles":[{"title":"...Searching for sea-shells; waves lap my wellington boots, carrying / lost souls of brothers & sisters released over the ship side...","type":"assigned by artist"},{"title":"Pastoral Interlude","type":"series title"}],"summaryDescription":"In the series ‘Pastoral Interludes’ Guyanese-born British photographer Ingrid Pollard explores issues of race, representation and the British landscape. The posing of her subjects in the Lake District, the epitome of authentic rural Britain, reveals the feelings of alienation and ‘otherness’ often experienced by black British people in rural areas. As a black British female artist, Pollard is one of those people whom the historian and writer C.L.R. James described as being in a position ‘to give a new vision, a deeper and stronger insight into both Western civilisation and the black people in it’.","physicalDescription":"Hand-tinted photograph of a black man, wearing waders and standing in a stream, inspecting what he has caught in his net.","artistMakerPerson":[{"name":{"text":"Pollard, Ingrid","id":"A13924"},"association":{"text":"photographer","id":"AAT25687"},"note":""},{"name":{"text":"Pollard, Ingrid","id":"A13924"},"association":{"text":"photographer","id":"AAT25687"},"note":"Ingrid Pollard creates significant photographic work which explores the social constructs of Britain and Britishness. Using portraiture and landscape imagery, Pollard interrogates the hidden histories associated with Africa, the Caribbean and diasporic communities. Pollard’s work is personal but also provides a reflection on shared experience, particularly her identity as a Black, British, woman artist. Pollard defines her work as \"a social practice concerned with representation, history and landscape with reference to race, difference and the materiality of lens based media\"."}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"paper","id":"AAT14109"}],"techniques":[{"text":"gelatin-silver process","id":"AAT139114"},{"text":"hand colouring","id":"AAT133555"}],"materialsAndTechniques":"Gelatin-silver print, coloured by hand","categories":[{"text":"Photographs","id":"THES48910"},{"text":"Black History","id":"THES48989"},{"text":"Caribbean","id":"THES286921"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2017KE0496","2017KE0494"],"imageResolution":"low","galleryLocations":[{"current":{"text":"WS","id":"THES49603"},"free":"","case":"R","shelf":"61","box":"L"}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"No","note":""}],"placesOfOrigin":[{"place":{"text":"Lake District","id":"x35878"},"association":{"text":"photographed","id":"x30151"},"note":""}],"productionDates":[{"date":{"text":"1987","earliest":"1987-01-01","latest":"1987-12-31"},"association":{"text":"photographed","id":"x30151"},"note":""}],"associatedObjects":[{"object":{"text":"E.722-1993","id":"O107865"},"association":"Set"},{"object":{"text":"E.723-1993","id":"O107901"},"association":""},{"object":{"text":"E.724-1993","id":"O107904"},"association":""},{"object":{"text":"E.725-1993","id":"O107905"},"association":""}],"creditLine":"","dimensions":[{"dimension":"Height","value":"25.0","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"image","note":""},{"dimension":"Width","value":"38.0","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"image","note":""},{"dimension":"Height","value":"487","unit":"mm","qualifier":"","date":{"text":"2016","earliest":"2016-01-01","latest":"2016-12-31"},"part":"frame","note":""},{"dimension":"Width","value":"480","unit":"mm","qualifier":"","date":{"text":"2016","earliest":"2016-01-01","latest":"2016-12-31"},"part":"frame","note":""},{"dimension":"Depth","value":"32","unit":"mm","qualifier":"","date":{"text":"2016","earliest":"2016-01-01","latest":"2016-12-31"},"part":"frame","note":""}],"dimensionsNote":"Dimensions taken from <u>Victoria and Albert Museum Department of Prints, Drawings and Paintings Accession Register for 1993</u>","marksAndInscriptions":[{"content":"'...death is the bottom line. The owner of these fields; these trees and sheep / want me off their GREEN AND PLEASANT LAND. No trespass, they want me / DEAD. A slow death through eyes that slide away from me...'","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"Printed label fixed beneath photograph."}],"objectHistory":"","historicalContext":"","briefDescription":"Photograph by Ingrid Pollard, from the series 'Pastoral Interlude', hand-coloured gelatin silver print, Lake District, 1987","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"<u>Victoria and Albert Museum Department of Prints, Drawings and Paintings Accession Register for 1993</u>"},{"reference":{"text":"","id":""},"details":"P. 73","free":"Adam Murray and Lou Stoppard, <i>North: Fashioning Identity, </i> London: Somerset House, 2017. ISBN:L 978-0-9556621-9-5."},{"reference":{"text":"","id":""},"details":"","free":"Fay Blanchard, Anthony Spira, Gilane Tawadros, Anna Arabindan-Kesson, Paul Gilroy, Mason Leaver Yap, <u>Ingrid Pollard. Carbon Slowly Turning</u>. Bloomsbury Publishing, 2022. ISBN 9781781301197"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[{"text":"Lake District","id":"x35878"}],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"man","id":"AAT25928"},{"text":"fishing net","id":"x39516"},{"text":"river","id":"AAT8707"}],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"\"'and what part of Africa do you come from?' inquired the walker...'\r\n\r\nThe show I participated in entitled D MAX (1987) was a turning point for me. It was when I first started working on constructed pieces. Pastoral Interlude was made specially for that exhibition. The work is a comment on race, representation, and the British landscape. <i>Pastoral Interlude</i> seems to have a lot of resonance for many people. It began as a way of articulating some of the experiences I had in England. It is really a metaphor, a skeleton on which I explored ideas about place, and where we all fit in\".","date":{"text":"","earliest":null,"latest":null}}],"partNumbers":["E.726-1993"],"accessionNumberNum":"726","accessionNumberPrefix":"E","accessionYear":1993,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-08","recordCreationDate":"2004-12-16","availableToBook":false}}