a l a n s i r u l n i k o f f
p h o t o g r a p h y
Hidden Voices
statement All images on this website Alan Sirulnikoff Winnipeg, Canada Toronto, Canada Vancouver, Canada Vancouver, Canada Vancouver, Canada Vancouver, Canada Peterborough, Ontario, Canada Vancouver, Canada Faro, Portugal Sechelt, BC, Canada Vancouver, Canada Vancouver, Canada Vancouver, Canada Vancouver, Canada Vancouver, Canada Gibsons, BC, Canada Vancouver, Canada Vancouver, Canada Toronto, Canada Vancouver, Canada Vancouver, Canada Sidney, BC, Canada Toronto, Canada Toronto, Canada Vancouver, Canada Vancouver, Canada Edmonton, Canada Lisbon, Portugal Vancouver, Canada Vancouver, Canada Winnipeg, Canada Vancouver, Canada Vancouver, Canada Vancouver, Canada Vancouver, Canada Vancouver, Canada Toronto, Canada Ontario, Canada Vancouver, Canada Fernie, BC, Canada Commercial & Hastings, Vancouver, Canada Hastings & Clark bench. Vancouver, Canada Hastings & Clark. Vancouver, Canada Vancouver Alley 2 Hastings & Homer. Vancouver, Canada Somke Weed. Vancouver, Canada Commercial & Hastings. Vancouver, Canada Vancouver Alley
Graffito: A drawing, writing or scribbling on a wall etc. Orig. spec. on an ancient wall, as at Rome and Pompeii. (Oxford Dictionary) Hidden Voices is the culmination of 20 years of walking and cycling in the back alleys and laneways of various cities in search of graffiti. The range of thoughts, calligraphy, locations and ideas are as varied as their authors. But beyond simply documenting the words, I’m always cognizant of their context, the lighting and the message – my personal aesthetic. The ‘scribblings’ provoke a range of feelings: hope, anger, humour and at times befuddlement. These writings are often on the margins of society well out of sight of the commercial interests that dominate our visual landscape. What leads so many individuals to express themselves this way? Who are all these anonymous voices? Is it a glimpse into a culture that many choose to ignore? Why do some cities (Vancouver for one) feel the need to quickly erase these messages, even when they are in the most hidden and dismal of locations? Is it possible that all of these apparently disparate voices, in some way, unite to form a cohesive narrative? There is a mystery in this community of hidden voices, especially knowing how ephemeral many of the messages are. The authors make many personal decisions: choice of implement, ‘canvas’, style and colour; some are planned, while others are apparently spontaneous and ragged. The profane and poetic mix fluidly with humour and social commentary. I never know what to expect at any turn. Here ego is missing and censorship doesn’t exist; at least momentarily.
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