Willie in His Home in St Lawrence’s Square Possibly 1971 - 2012

Editor: Here we have Sirkka-Liisa Konttinen’s gelatin silver print, "Willie in His Home in St Lawrence’s Square," made sometime between 1971 and 2012. It feels so intimate, a real glimpse into someone's life. I'm struck by the domesticity of the scene—the chess board, the tea set. What do you see in this piece? Curator: What resonates most powerfully for me is how this photograph participates in a larger dialogue about representation and class. Konttinen documented working-class communities, and this image, like many of her photographs, refuses the stereotypes so often perpetuated about those communities. Consider how "Willie" is portrayed in his environment—can you tell me about that? Editor: Well, he's clearly engaged in a game of chess, which suggests intellect and leisure, things not always associated with the working class in popular imagery. And the table is beautifully set. Curator: Precisely! Konttinen's gaze actively countered prevailing narratives of decline and marginalization. Through photographs like this one, she offered a counter-narrative. It is important to understand the social and political climate to appreciate Konttinen's work as activism. It challenges us to confront our own biases, wouldn't you agree? Editor: I completely agree. It’s easy to fall into assumptions without knowing the background. This really pushes me to consider the artist's intent within the societal context. Curator: And to ask ourselves what it means to bear witness to these communities with a critical eye. It invites us to contemplate the politics of representation, and how photography, especially, can shape perceptions and challenge societal structures. Editor: Thanks. Thinking about this photograph in this way really shifts my perspective on documentary photography. It’s more than just capturing an image; it’s a powerful form of storytelling.