In 1983 photographer Sirkka-Liisa Konttinen, one of the key founders of the Amber collective documenting Newcastle past and present, published an now infamous collection of one of the poor marked areas of the east end of Newcastle - that of, and entitled Byker. Documenting the terraced streets which she lived among for seven years, her work captures the hazy lines of row upon row of working class homes, the people and the faces, three of which can be seen below.
Twenty years on Konttinen has returned to the ground which created and marked her fortune, yet Byker has changed in her absence. Living across the street in Heaton as a student, Byker was always on my doorstop, while the streets showed is downturn, its marginalisation away from the city centre and the reinvestment provided to other areas of the city Byker is a melting pot for cultures.
Many of the original streets documented in 1983 no longer exist, redevelopers bulldozed the terraced streets, the communities pushed apart to make way for intended redevelopment and building of the Byker Wall. Now her works focuses upon this "wall" of flats. While granted the dedication upon UNESCO's list of outstanding 20th century buildings, Byker Wall is credited with poor living conditions and lacking a sustainable community. Konttinen herself states she was drawn to the hard to let flats, ones often let out to refugee families.
The aim of this revisit to Byker is clearly noted, and in sharp contrast to the former black and white images these pictures and people are documented in vivid sharp colours.
[Lee Hill, a teacher, and Betty Hill, an artist Byker 2006]
"The man ... at first he seemed a typical Byker lad, but he had a Lebanese grandmother. They were about to move out, and the whole place was in boxes. ... his dog, a bull terrier, appeared from the kitchen and leapt up onto the seat; the father started blowing soap bubbles. The dog got so excited – snapping, trying to catch the bubbles" (Cited from The Guardian)
Many of the original streets documented in 1983 no longer exist, redevelopers bulldozed the terraced streets, the communities pushed apart to make way for intended redevelopment and building of the Byker Wall. Now her works focuses upon this "wall" of flats. While granted the dedication upon UNESCO's list of outstanding 20th century buildings, Byker Wall is credited with poor living conditions and lacking a sustainable community. Konttinen herself states she was drawn to the hard to let flats, ones often let out to refugee families.
The aim of this revisit to Byker is clearly noted, and in sharp contrast to the former black and white images these pictures and people are documented in vivid sharp colours.
"I wanted to give the people living in these flats a photograph they would be proud to present to the world, something to introduce themselves to their neighbours. People don't often know the people who live next door. It's my little fantasy, creating a virtual community through these portraits."
[Lee Hill, a teacher, and Betty Hill, an artist Byker 2006]
"The man ... at first he seemed a typical Byker lad, but he had a Lebanese grandmother. They were about to move out, and the whole place was in boxes. ... his dog, a bull terrier, appeared from the kitchen and leapt up onto the seat; the father started blowing soap bubbles. The dog got so excited – snapping, trying to catch the bubbles" (Cited from The Guardian)
[Gerel Galbadrah with son Tengis, 2005]
[Colin 2009]
[Gnana and her daughter Kavi from Sri Lanka, 2003]
These pictures capture the vibrancy and stages of life and of families within an area that is discredited as poor, failing and working class. It is an area hybrid, a melting pot of races, cultures and ages, from the male Geordie with his team tattooed upon this stomach stood in his kitchen to the mother and daughter from Sri Lanka. They are all families and they are all linked through association with Byker.
Viewing such images in colour, rather then the normal black and white adds something but then again in the same instance takes things away. Perhaps to remain in the formal black and white would perhaps maintain the perception of the limited and bleak appearance this east-end area has. And in turn by using colour the space and the community is reinvented as alive and in colour.
But which has more power to influence our views, our assumptions and interpretations? The black and the white or its opposition of colour?
Viewing such images in colour, rather then the normal black and white adds something but then again in the same instance takes things away. Perhaps to remain in the formal black and white would perhaps maintain the perception of the limited and bleak appearance this east-end area has. And in turn by using colour the space and the community is reinvented as alive and in colour.
But which has more power to influence our views, our assumptions and interpretations? The black and the white or its opposition of colour?
Images taken from The Journal, The Guardian and The Late Show.
Very interesting, I am not a Northerner, I'm just studying at Durham Uni, so I don't recognise the streets of Byker, but the pics are very, very interesting, thank you!
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