Gezicht op Grève de Lecq op het eiland Jersey 1871 - 1885

Curator: I must say, glancing at this photograph by Thomas Tibbles titled "Gezicht op Grève de Lecq op het eiland Jersey" which translates to "View of Grève de Lecq on the island of Jersey", taken sometime between 1871 and 1885, makes me feel nostalgic for a place I've never been. Editor: Nostalgic is an interesting word choice! The sepia tones definitely lend themselves to that feeling. For me, the strong foreground almost overwhelms the buildings beyond; they seem to huddle together as if seeking protection. There's a stillness, a quietude... Curator: You're right. It’s like peering through a veil of overgrown foliage at a small, steadfast community nestled on this Channel Island. There’s a sense of privacy here, but also an acknowledgment of the ever-present landscape—the green foliage blending with the built environment. Do you see a commentary on space in this image? Editor: I think it's fascinating how Tibbles seems to be framing a specific narrative. The placement of the buildings hints at social hierarchies – are we meant to consider this as a visual representation of property ownership, with some structures being given precedence through their location? The very concept of framing begs that consideration, as who has control of the frame and the land behind it has huge societal implication, specifically issues of race, and gender as the land in question is considered as property. Curator: That is thought provoking! The muted tones could imply something about economic conditions on the island during that period, perhaps a kind of restraint reflected in the visuals. The "pictorialism" tag associated with this reminds me that even then, photography wasn’t purely documentary. Editor: Absolutely. Tibbles is making aesthetic choices. The slightly soft focus adds to that feeling of a bygone era, turning the everyday into something wistful and dreamy. I'd go even further than restraint, here! As we look towards this 'bygone era', in that age of empire-building, photography of places like Jersey becomes visual ammunition of colonial power and propaganda as people and land becomes just more for colonial rulers to exploit and rule, while also leaving the history of violence in their images off the frames entirely. Curator: So, in a sense, Tibbles captured more than just a place; he presented an atmosphere, a constructed version of Jersey's Grève de Lecq in this historical period, open for the viewer's contemplation about community and empire. Editor: Exactly. A picture that opens up conversations about time, power, and perspective. It asks us, "What stories are being told and whose stories remain hidden within these 'landscapes'?"