These photographs were made during a period of intense grieving. Trauma has therefore served to produce some meaningful intimacy between strangers and the photographer. Winship’s work communicates awkwardness, sadness and emotion. The series is contemplative, informative and provoking. She combines jarring landscape imagery with well executed portraiture, following in the footsteps of other Great American photographers (Lee Friedlander, Walker Evans, Stephen Shore).
Race is “included without invective” – Winship insists that the individual connection between her and the subject is paramount. Connection and unity, separation and forgetting. This is what she wants the viewer to consider. She wants us to recognise the differences in age, class and race but not to be reductive towards it. “The specific and particular recognition of one human being by another — the response by eye and voice and touch of two solitudes. The democracy of universal vulnerability” (Isabella Gardner). This series manages to remind us that we can be changed by something as “ineffably minor as a photograph”.