JD: Do you find yourself making photos that aren’t necessarily part of your “art-practice” while on these trips? And if so, could you see a scenario where these photos find themselves into your work?
CH: Yes, I often film and do found still lives whilst away, that I’m sure will be moulded into my work in some way in the future. I’ve actually started to get commissioned more and more for film projects because of this.
JD: Thinking about what you said on the work being narrative-based, what are your thoughts on how the work would fit into some sort of book?
CH: I’ve actually got a publisher putting together a book on Rise of the Mongolians at the moment. I’d love to produce a book that is just landscape-based but the Sumo’s is such an interesting cultural manifestation that I think as a narrative, it’s more accessible for people to understand the effect of climate change in a city on the brink such as Ulaanbaatar in Mongolia, especially through the narrative of a group of children. I think it’s quite a good choice of the publisher as there will be a lot of landscape-based work included in it.
JD: Lastly, is there something you’ve read, watched or listened to recently that has really struck a chord with you, relayed to your work or otherwise?
CH: The last film I watched which struck a chord with me was Shoplifters by Hirokazu Kore-eda’s but that is very much a study of trauma and fear of poverty which is something I’m thinking about a lot at the moment. How people heal from trauma, the different faces of grief, the dysfunctional nature of life but the beauty within it. The beauty within collateral damage, I guess. I am thinking about that a lot in the work I make at the moment.