Virginia Lee Hunter photographs the drifters and outsiders that have opted for life on the road in travelling carnivals. Her work captures the nostalgia one feel's towards fair grounds while also shows both the romanticized idealism of a carnival, contrasted with the somewhat grim reality.

1. What subject matter do you primarily choose to photograph, and why are you drawn to this subject matter?

I’m most curious and influenced by human subject matter that has several characteristics of spirit. The renegade, and the disenfranchised, which culminates as a subculture in terms of people. I’m fascinated by those who either choose, or through circumstances, find themselves standing apart from what is called the ‘mainstream of society’. Specifically, the carnival workers, and hoboes who ride freight trains, to name two sub-cultures I’ve been drawn to explore through my photography. I think because of their qualities of standing apart, a kind of romance grows upon the sub-culture like moss. In this moss grows lore, legend, songs and poetry, and photography. Also, by exploring sub-cultures in my photography, it helps me to understand humanity as a whole. The work I’ve chosen to show in CONTACT deals with the results of the carnival coming to town. The carnival, I’ve learned is a confluence of sub and pop culture. The images in Page’s Art Window show the effects of the carnival workers’ gift to small town America.

2. What do you hope to communicate to an audience through your work?

Specifically with this body of work about the Carnival and the carnival workers, I hope viewers will experience two thoughts. One- through capturing moments in the ever moving carnival experience, their own memory of their carnival experience is triggered, thus creating a collective memory of nostalgia the carnival manifests in our society. In other words paying homage to the carnival’s role in our pop society and heritage. Second- the role of ‘who’ the carnival worker is as part of our society. The aspect of the renegade, and free spirited which is part of our whole in the natural world. The book, CARNY;Americana on the Midway (offered at Pages) and the documentary film, CARNY, inspired by my book, and directed by Canadian filmmaker Alison Murray gives a more layered look to what I’m saying.

3. What are the biggest challenges you face in your work?

What I’m most attracted to photographing can be more challenging to infiltrate by being a woman. Having said this, once through the door, its also more accessible for a woman. There’s a bit of danger physically speaking with some unknown and unsavvery characters that roam within these circles that, as a female, one must avoid or handle very gingerly. When I first began working on the carnival project 10 years ago, I couldn’t afford a motel, so I slept outside in a tent on the grounds of the carnival amongst the troupes.My bed partner was a very large hunting knife. I learnt though that within both circles, there’s a sense of familial integrity and I felt well protected from within once I developed friendships. I helped them and they helped me. That’s just how one should play in life anyways.

4. What is it about the photographic medium that you love?

I absolutely love the camera and taking pictures as a meditation for my soul. More importantly, the camera allows me an excuse to venture into places I’m interested with an excuse, a purpose. I use it as a means to get into places and meet people I otherwise wouldn’t have the opportunity due to my shyness. I think that might be true for many of us photographers.

5. What do you find to be the most rewarding aspect of your work?
Meeting people. By far, meeting people and experiencing life outside of my own. Then sharing these experiences with others through my images.

6. If you could choose three words to describe your work, what would they be?

Humanity, Connection, Emotion

7. What part of your portfolio are you most proud of and why?

I’m most proud of the overall achievement of discovering my voice. During this journey of some 28 years being with cameras, I didn’t intentionally set out with a motive nor voice. I’m not that savvy. I just shot projects that interested me- beginning with cowboys, then Indians, onto carnival workers, and train riding transients. It wasn’t till looking at the body of work after all these years did I then understand what I was seeking to say about society.

Exhibit runs from May 1 - 31 at Pages Bookstore, 256 Queen Street West