Arts

Sophie Chalk’s Ethereal Photography Captures the Spirit of Old Hollywood

January 4, 2023

19th-century photography and its history have long fascinated photographers and art enthusiasts alike. The resulting art produced by these specialized processes brings to mind the allure and mysticism of “old-timey” Hollywood and silent films. These unique techniques, which were developed in the 1800s and involved the use of chemicals and specialized equipment, have a rich history and continue to be practiced by a small but dedicated group of contemporary photographers.

One of the most notable 19th-century photography processes is wet plate collodion. Developed in the 1850s, this technique involves coating a glass or metal plate with a thin layer of light-sensitive collodion and then exposing it to light while it is still wet. The plate is then developed in a darkroom using chemicals and fixed with a solution to prevent further exposure. The resulting images are often characteristically dreamy and ethereal, with a soft focus and a distinct, timeless quality.

While this art form may seem like relics of the past, they are still practiced by dedicated groups of contemporary photographers who are drawn to their unique aesthetic and historical significance. These photographers are often attracted to the tactile nature of the processes, which require the use of hands-on techniques and specialized equipment. They are also drawn to the sense of nostalgia and timelessness that these processes impart to their images.

Sophie Chalk is an emerging art photographer and portrait artist whose work seamlessly blends old and new world aesthetics. Based in New York, Chalk is known for their high-level technical skills and universal understanding of history, which they use to create a cohesive contemporary language and common experience for their viewers. In addition to their technical proficiency, Chalk is also known for their commitment to telling stories of LGBTQIA2S+ people and communities and for challenging the images we hold as historical record.

Sophie Chalk’s works are a reflection and reanimation of a history obscured by nostalgia and a longingness for an idealized Hollywood. Nostalgia, as some would say, is a dangerous thing, one that can wipe away the identity of queer people from the history they’re tied to. Sophie Chalk’s photographs are glimpses into the struggles of body acceptance- physical figures, arms, and the human body are a pivotal part of the expressions inherent in their artworks. Not only the visual aspect but the physical toll of the development process necessary to produce these photographs is pathos in itself.

One of Chalk’s notable career highlights is their mastery of an obscure 19th-century photography process that is considered one of the hardest in contemporary practice. They are also a recent graduate of the Parsons MFA program, which they completed online during the COVID-19 pandemic. Chalk’s work has been exhibited in cities around the world, including Melbourne, Adelaide, Pingyao, Bandung, Minneapolis, New York, and Barcelona.

Chalk’s photographs are a powerful reminder of the resilience and strength of the LGBTQIA2S+ community, and their commitment to representing and amplifying marginalized voices is an integral part of their artistic practice. Their work challenges the narrow and often distorted portrayal of LGBTQIA2S+ people in mainstream media and historical record, and offers a more nuanced and authentic representation of the diversity and complexity of the community.

Through their art, Chalk invites viewers to engage with the past in a meaningful way, and to consider the ways in which history can inform and shape the present. By using their technical skills and artistic vision to breathe new life into old techniques, Chalk creates a bridge between the past and the present, and encourages us to think critically about the stories we tell and the images we hold dear.

Despite their many accomplishments, Chalk has faced significant challenges in their career, including coming to terms with their own queer identity and recognizing the value of their own work as an artist.

In the coming years, Chalk hopes to see their work featured in editorials and galleries, and to have their portraiture practice recognized as reminiscent of old-world names like Edward Steichen, Madame d’Ora, Ruth Harriet Louise, and Cecil Beaton, while also emulating contemporaries like Catherine Opie, Jess T Dugan, and Jesse Egner. They also plan to launch an arts education podcast in January called “Art Lust Podcast,” which will be available on their social media channels.

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