Jane Hughes 

Richter spoke of the family photograph as being in a particular class –a snapshot, an icon for the contemplation of and futile battle against mortality. It is traditionally constructed in a chronological and cyclical repetitions, of births, christenings and holidays.  ‘The family is making itself through image’. But all these occasions are distinguished by ‘pleasure, happy beginnings, happy middles, but there must not be endings’ The overarching message is ‘We will be happy’ (Annette Kuhn 2002, p 23)

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It is the performance and contrivance in the family album which I probe using my own family archive - producing a sense of disquiet, a sense of something not being quite as it should be, a glimpse at what is not quite visible in these choreographed poses