Interview with Thomas Holton

by Allicette Torres
Originally published in the Brooklyn Art Project March 16, 2008

It was blistery cold as I walked the narrow streets of Tribeca New York bound for the Sasha Wolf Gallery. I was lucky to be one of the first arrivals at Thomas Holton’s show, The Lams of Ludlow. I enjoyed how there was a quick rush of friends and family that came with cheer, admiration and awe. There was a clear unpretentious perspective to Holton’s work. Walking from photo to photo I was deeply struck by the natural universality of the idea of family reflected in his work. The ethnicity and circumstance of the subjects quickly fell away and what you were left with were these intimate commonalities that one rarely shares with people who are not in one’s inner family circle. The work was not one of a distant voyeur in search of exoticism but a study in the beautiful and complex narration of mundane family life unfolding.

Allicette Torres: Why did you select the Lam family?

Thomas Holton: The Lams were one of maybe about 12 families that I met during my Chinatown visits. but they were by far the most open to being photographed and very friendly and inviting. the work up to then was a bit thin… a few photos of a dozen families… not much depth to the work. I wanted to photograph a family in all their everyday action…exciting days, boring moments, etc. so when the lams were so gracious to letting me into their home, I saw this as a sign.

AT: Can you elaborate more on your creative process? How did you harness the depth you were looking for? What were you looking for?

TH: My creative process is really about having a quiet patience and to be observant. I’m drawn to the idea that I can return to a space dozens and dozens of times and see something new almost all the time… be it a new physical object or a glance. When the work was “thin” it was very limited in its scope. I was at some of these homes for only 30 minutes in the presence of the housing advocate not really seeing anything candid or unposed. So when the Lams kept inviting me in their home over and over, I realized that I was becoming more and more part of the family and somebody who just happened to be there. That’s when you see things happen.

AT: What were you trying to capture with this series? What was the most difficult aspect of shooting the series?

TH: These questions are very related. I really wanted to see what life was like behind the closed doors of Chinatown, not just the everyday Canal street knock-off stuff. The challenge was to make work that did not seem to be another look at “the other” and all about access. I didn’t want to focus on their meager surroundings, living situation, small space, etc., but really on the people and their emotional and dramatic world. I wanted the work to be respectful and not another sensational reflection of the immigrant cliché.

AT: What is the intent to the cultural ramifications in your work? Are you observing what you see and documenting it for others to distill ideas or is there a specific journey you expect your viewer to navigate?

TH: I guess that is how I might have “harnessed the depth” that you mention. I don’t want to really guide the viewer on any specific journey but rather keep the images opened ended where the viewer can interpret the images themselves. Regarding “cultural ramifications”, I no longer notice that they are Chinese. They are just another family here in New York City living their lives and making the best of their situation.

AT: What artists inspire you or do you admire and why?

TH: I love Larry Sultan and his quiet sensitivity, how William Eggleston makes the mundane so beautiful and significant, Henri Cartier-Bresson’s timing and exquisite compositions and Walker Evans’ respect and sensitivity.

The Lams of Ludlow Street on view until April 26

Sasha Wolf Gallery
10 Leonard St.
Tribeca, New York 10013
212-925-0025
http://www.sashawolf.com/
Tuesday-Saturday 11-6

Thomas Holton
http://www.thomasholton.com/

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After the Show

La Rouse and I decided on skipping both Chinatown and Little Italy and made our way back to Soho from whence we came. We made the beeline to Lombari’s, known as the first pizzeria in America, for their killer coal oven pizza. Disappointment was not part of our vocabulary as our pie arrived in less than 15 minutes flat. The thin crust permeated with fresh mozzarella, basil and pepperoni it was heaven in a circle. La Rousse and I were rather sedate, and the usual debauched revelries did not ensue, but we did catch up on girly-girl chat.

Lombardi’s
32 Spring St
New York, NY 10012-4173
(212) 941-7994
Cash Only