The approximately 240 photographs within this monograph were made between 1979 and 1989 in the Lancashire town of Blackburn. They capture the essence of the town during this turbulent period, showing Blackburn's industrial heritage, its diverse population and its resilience in the face of change. The photographs also explore themes such as ethnicity, the local economy, labour relations, privatisation, unemployment, recreation, entertainment, politics, landscape and urban regeneration. The book is enriched with personal stories and anecdotes from many of the subjects of the photographs, providing a unique and intimate glimpse into life in Blackburn in the 1980s. As a disabled photographer, Christopher's identity and work are inseparable. His photographs reflect his unique perspective on Blackburn and its people. From the outset, he intended to create an intimate and personal interpretation, as a disabled artist, rather than a sanitised tourist guide. It would be a chronicle of the effects of the political and social climate of the time on Blackburn and Christopher's journey through it. The first phase of the project, from 1979 to 1985, produced a series of photographs that formed a touring exhibition funded by the North West Arts Council and Blackburn Borough Council. The exhibition, titled "Blackburn: A Town and Its People," opened at the Lewis Textile Museum in Blackburn in 1985. It was opened by Jack Straw, a former government minister and Blackburn's constituency MP, and toured various venues throughout the UK. Christopher continued to photograph Blackburn until 1989, when he left town to attend university. This work, spanning a decade, formed a consistent study of Blackburn. Christopher stored the negatives for the next few decades, but always longed to return to them. In 2015, he embarked on a mission to digitise, restore and archive the original negatives. Over the years, he had lost the names of some of the subjects in the photographs, and he was determined to rectify that. Christopher took to social media to do just that. The response was overwhelming. Many people had never seen the photographs before, and Christopher was able to give them digital copies as keepsakes. In some cases, the photograph was the only one they had of a deceased loved one. Some people were kind enough to contribute a short paragraph of text to accompany their image in the book. This adds a deeply personal touch to the finished work.
Ball, Christopher John: - Christopher John Ball BA (Hons) MA is a widely exhibited and published, award winning, London based, fine arts photographer, writer, campaigner, reviewer, curator, arts juror and lecturer. With over 45 years experience as an artist, his work is held within public and private collections worldwide. Christopher is a passionate advocate for the rights of artists and for the preservation of public arts funding. His art work, views and opinions are very much in demand and he has contributed articles on photography, the arts, politics, philosophy and other topics for various international publications and media outlets. Christopher is proud to be involved in the 'Film is Fabulous!' initiative, a vital new project dedicated to preserving the UK's rich film heritage. Film is a fragile medium, and many films are lost each year due to neglect, deterioration, or simply being disposed of in landfills. 'Film Is Fabulous' is supported by a number of important organisations, including De Montfort University's Cinema and Television History Institute (CATHI) and the Media Archive for Central England (MACE). He has also worked in film and theatre. ''Throwing Stones: What's in your family album?'' was co-written by Christopher John Ball and Dean Sipling. Performed in 2005 at the Greenwich Playhouse, a revised version of 'Throwing Stones' was published in November 2013. Given that he has been disabled since youth, Chris maintains an active role in the campaign to promote disability awareness and rights. Drawing inspiration from philosophy, film, music and disability politics; Chris believes that how we see ourselves, alongside our objectification by the camera, society and the state, takes the form of an existential challenge and his work is an exploration of this rationale. Whilst his work covers both social documentary and fine art, his methodology is consistent throughout. His images explore and play with the 'sense of distance', 'lack of access', the 'mundane banality of modern life'. The themes of a 'sense of distance' and 'lack of access' have become increasingly important to Christopher as his disability deteriorates. The reaction of 'others' to a visible impairment can often be hostile leaving one feeling an 'outsider' 'looking in' 'abject' and 'kept out'.
