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SUSANNA GALBRAITH

Claire Maxfield Portfolio
Source Issue 102 Autumn 2020

Maxfield’s project instils a potent sense of the invisible body between the voice of the slightly ambiguous but ominous and emotive captions and the fragments of a private seeing. The details (‘imperfections’) that remember the analogue process incorporate a sense of time, of delay and remembering. All of this is at work before the knowledge that what’s manifested here is the ‘processing’ of a period of domestic abuse significantly deepens and sharpens the meaning to be found; the weight of the unsaid remains. Good’s introduction doesn’t intrude or shy away; she situates the series in wider conversations about trauma, abuse, language and photography, making room for Maxfield’s voice and acknowledging her own emotions in engaging with the work.