Viewsletter: Garrett Lockhart

Canadian image maker and communications coordinator Garrett Lockhart recently set up his subscription based portfolio newsletter while working throughout Europe. We catch up with Garrett following his recent Viewsletter release.

Interview: Grace Alexander


Grace Alexander: What about the 'image-dump' format appealed to you?

Garrett Lockhart: I think images have more fun in groups.

GA: How do you, as an image maker, prefer to approach your online platform?

GL: I used to worry about it but now I don't.


GA: Did this lead to the creation of your Viewsletter?

GL: Yes. In Europe my collaborators were using subscription based mail services to update their friends and colleagues of new work. I thought I would try to do the same through images.


GA: Have you had subscribers to the Viewsletter respond? Are they a way to open up conversation?

GL: Yes. Images can easily infiltrate an email inbox. A visual email stands out in a sea of text—work correspondences, familial updates, spam. From the responses I've gotten, people appreciate the 5 minute break.


GA: Do you set guidelines for yourself for the Viewsletter? Do you control the number of images or the frequency of the send out for instance? Are these even important for you?

GL: I am only drafting viewsletter 3, so I haven't given this too much thought.


GA: Your work centres a lot around found objects, how would you describe the relationship between them and the camera? For instance are they still lives? 

GL: They are underlines, highlights, circles in red pen. I'm taking notes.


GA: You spoke about the subjects of these images as a kind of note-taking or mark making, and it appears that they don't follow a narrative. Is there a thread that connects the groupings sent out?

GL: There is no narrative, only notes—materials, forms, situations.


GA: Is the Viewsletter the end destination for these images or do they have a life beyond the email? Do you plan to take them into a physical setting like a gallery? If not, why?

GL: After a certain number of editions, it would be interesting to build an exhibition highlighting the act of subscription. Images would be present, but some sort of public signup station would be a focal point of the work.


GA: Have you found your work/process has been influenced but this new way of presenting it? 

GL: No. This is just an experiment.


GA: What are you doing tomorrow?

GL: Flying from Vancouver back to Montreal and locking myself in the studio.



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