Victor Sloan | |
|---|---|
 "Self-Portrait", silver gelatin print, with coloured pencils, 60 cm x 50 cm, 1993 | |
| Born | 16 July 1945 Dungannon, County Tyrone, Northern Ireland |
| Nationality | British (Northern Irish) |
| Education | Belfast College of Art, Leeds College of Art and Design |
| Known for | Photography, Video, Mixed Media |
| Awards | MBE |
Victor Sloan MBE (born 1945) is a Northern Irish photographer and artist.
Sloan was born in 1945 in Dungannon, County Tyrone, Northern Ireland. He studied at the Royal School, Dungannon, County Tyrone and Belfast and Leeds Colleges of Art, the latter in England. He lives and works in Portadown, County Armagh in Northern Ireland.
Employing primarily the medium of photography, he manipulates his negatives and reworks his prints with paints, inks, toners and dyes. In addition to photography, he also uses video, and printmaking techniques.[1]
Sloan's works are a response to political, social and religious concerns. He is perhaps best known for his works investigating the Orange Order in series such as: Drumming; The Walk, the Platform and the Field and The Birches.[2]
Sloan was awarded an MBE[3] in 2002. He is an academician of the Royal Ulster Academy, a Fellow of the Royal Society of Arts, and a Fellow of the Royal Photographic Society. He won the Academy's Conor Prize in 1988 and the Gold Medal in 1995 and 2008.[4]
The Ormeau Baths Gallery, Belfast held a major exhibition of his work (Victor Sloan: Selected Works 1980–2000) in 2001. In 2008, the exhibition History, Locality, Allegiance, curated by Peter Richards at the Golden Thread Gallery, Belfast, brought together a comprehensive selection of past works, with a particular focus on his video works.[5]
His exhibition Victor Sloan: Drift,[6] curated by Dr Riann Coulter, Curator of the F.E. McWilliam Gallery & Studio and Feargal O'Malley, Curator at the University of Ulster, explored a related though distinct area, tracing the story of the Vietnamese Boat People who settled in Craigavon, Northern Ireland in 1979.
In preparation for this exhibition, Sloan rekindled his friendship with Ka Fue Lay,[7] who was a teenager when he settled in Craigavon in 1979 and now lives in Salisbury, England. Sloan made a video[8] in which Ka Fue Lay discusses his life in Vietnam, displays family photographs and fondly recalls his time in Craigavon. The exhibition also includes Sloan's black and white photographs of Craigavon from the late 1970s and early 1980s, contemporary images that he created by scratching, painting and bleaching photographic prints, and recent work including large colour photographs of Moyraverty.
Sloan's exhibition Before,[9] in Belfast Exposed gallery, Belfast, 2017, revealed an excerpt from an extensive but little-seen body of archival photographs that Sloan made in the 1970s and 80s in Northern Ireland. The images document the activities and characters that populated Sloan's daily life; the urban development of his hometown of Craigavon; and the constant and pervasive presence of the political conflict.
For the artist these photographs functioned as a type of preliminary 'sketchbook', shaping the distinctive style and thematics he would later become known for. Viewed together as an exhibition they represent Sloan's significant contribution to the tradition of Northern Irish documentary practice.[10]
Books about Sloan and his work include Marking the North by Brian McAvera (1989),[11] Victor Sloan: Selected Works by Aidan Dunne (2001),[12] Victor Sloan: Walk, by Jürgen Schneider (2004),[13] and Luxus by Glenn Patterson (2007).
A typical image from the Northern Irish works of Sloan is Walk X from 1985. It is a silver gelatin print. In it we see dead centre, splitting the image, a uniformed police officer with a peaked cap. He is in profile, staring tight-lipped at the parade, feet apart in a rooted stance, symbol of law-and-order but also unusually for the North, of impartiality, indicated by his dead centre stance. From the left a huge Lambeg drum, strapped to its unseen owner's chest, juts out across the body; but it has been rendered semi-transparent so that the outline shape of the police officer can still be seen.
On one level this drum functions as a musical instrument, the rhythmic 'keeper of the beat'. But the unhinged arm, wielder of a timpani-like drum-stick, indicates not only the wardrum call, but also the potential of the drum-stick as a weapon. On another level the drum is like a Jasper Johns target with its concentric circles of black, white, black and white again for the heart of the target. The paradox is that the police officer who has often been seen, in the eyes of Catholics, as the defender of the Protestant tradition, has now become a target for his own loyalist people (the police being a largely Protestant force).[14]
Sloan's video work includes a 44-minute video of an 8 mm looped film fragment of The Little Rascals,(1930s), which destroys itself and catches fire. This was shown in the Gastag in Munich and in Toskanische Saulenhalle, Augsburg, Germany, 2004 as part of his installation Stadium. Gavin Weston in The Sunday Times describes it when first exhibited in the Old Museum Arts Centre, Belfast:[15] "...a noisy trundling projector surrounded by four large prints at which one strains to peer through the blacked-out gloom. Staring back in time and this dingy light are the eyes of Adolf Hitler, bolstered by images of the Werner March/ Albert Speer – designed stadium that hosted the Berlin Olympics of 1936. There is no further direct reference to Jesse Owens, the Führer's gravest embarrassment, but flickering through this laden environment, archive footage of white children allowing a black child to draw the short straw, serves as an indicator".[13]
The video work Walk (28 minutes, 2004.), has been shown in Berlin and Augsburg, Germany; Belfast, Portadown and Dublin, Ireland; Pretoria, South Africa; Bialystok, Poland; Madrid, Spain; Paris, France, and Damascus, Syria.[16]
Susan McKay describes the video in The Irish Times: Walk shows, in slow, plodding motion, an Orange walk (as the parades are properly known to those who take part in them). The marchers appeared to disappear into a mirror, and the sound was distorted so that drumbeats sounded out suddenly like shots, and voices were slowed down to groans. In the end, the last shiny black shoe has marched into the mirror leaving an empty street. It is a melancholy piece".[17]
Other video works include Drumcree[18] (2001) and Fishtank[19] (2006) Ka Fue Lay.[20] (2014).
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Sloan's work is held in the following public collections:[85]
