Fiona Bunn is a professional alpine photographer whose work has been displayed in London, Milan, and Zermatt. An avid hiker and climber, Bunn spoke with GlacierHub writer Elza Bouhassira about the inspiration for her most recent exhibition in Guildford, England and her ideas about the role of a photographer in a world increasingly shaped by climate change.
GlacierHub: Can you talk a bit about your exhibition? How does it build on your past work?
Bunn: Going back in time, what motivated me originally was that I’ve always spent a lot of time in the Alps, even as a child I always visited them. Around seven years ago I had quite a shocking experience when I was in the Alps; I took some photographs and could see a profound difference in the glaciers. I’m not sure why I suddenly saw that. Perhaps it was because I had been visiting at different times of the year.
After my shock seven years ago, I felt quite motivated to start developing a conversation. Initially a lot of my work was in black and white. It was quite stark. But as I engaged more with people, I came to realize that photography is as much a journey for me as it is for the people who are looking at it.
The first exhibitions I did were quite stark, they were in more artistic exhibition spaces. I was in the Milan Expo, and then I did a couple in London. An exhibition I did in the summer was in a very commercial environment. It was in Bond Street in London. The exhibition I’m doing now is in a more spiritual environment. It’s actually in a church. It’s part of a heritage weekend that they’re doing, and the weekend is also part of the liturgical season of creation, which is all about the web of life, about the interconnectedness of nature, and the impacts of climate change. For me it’s a big exhibition, to take over a city center church and to have this opportunity, really, it’s great.
GlacierHub: Can you talk about the upcoming exhibit?
Bunn: It’s a church in Guilford. It’s a 10th-century church. It’s a bit of an artist’s dream because it’s in a state of disrepair at the moment since they’re doing a lot of building work on it. The structure itself is undergoing a lot of change so the pictures of mountains are almost replacing the windows of the church—the windows are covered up due to the construction. People are seeing nature come into their environment where stained glass would usually be, which is really nice. There are 15 images, each about 1.5 meters by half a meter. It’s a beautiful space. And educationally it’s great too because they’ve got lots of children helping, the local Brownies Guides are doing a pop-up cafe. So there’s going to be a lot of young people there and it’s just a great opportunity to engage with a different audience.
GlacierHub: How do you decide where to shoot?
Bunn: I like to go back to the same set of places because I’m trying to record change. I try to build relationships with people because I want to focus more on education going forward. Since I’m also a climber, I tend to choose places that are very high up.
GlacierHub: Do you use any filters or post-processing as part of your creative process?
Bunn: I don’t use any filters and, in post production, just a little bit of cropping. I’ve got quite a basic camera to be quite frank. I tend not to use polarizing filters. I’m a bit of a nightmare for other photographers because if I can climb it, and I can just sit here and I can photograph it, then I’m happy and I’ll do that.
GlacierHub: Why do you shoot landscapes?
Bunn: The landscape of the Alps is so beautiful. People ask why I go back to the same places; it’s because every time I go it’s different, the sky’s different, the sunsets, the experiences, the people I meet. I always think of people like John Muir who just basically hung out in Yellowstone National Park most of his life. There is something in that because it’s about getting to know people, and the community and building links that will be part of my artistic process of recording what I’m seeing and experiences I’m having. Personally, I try and capture exactly what I see with a little bit of cropping. What you see is what you get with me.
GlacierHub: Most of your images focus on landscapes and mountains. Is it a deliberate choice to omit animals and humans?
Bunn: I feel that landscapes need a voice at the moment. I do photograph quite a bit of wildlife, but I don’t always put those into my exhibitions. I think there’s probably quite a lot of work that can be done around tracking the effects of what’s happening on wildlife.
GlacierHub: What do you think the role of a photographer is in a world confronted by climate change?
Bunn: I think photography opens a door to conversation. It’s a tool for communicating experience. I think artists have a profound responsibility.
I think different artists have different signatures in their work. Some people call them motifs. One thing that I think all artists who have any interest in climate change can say is that the subject profoundly touches you to the extent that you make it the central pivot for your work. What I’ve seen has impacted me to the extent that it has become part of the signature in my work. It’s become very important to me.
I feel the artistic community has a real role to play in that we have different voices, and together we can reach people. I sometimes worry the message isn’t clear, that there is still a lot of confusion about the message. I think we’re still fumbling our way through this, trying to figure out what are we trying to say.
GlacierHub: Do you think beautiful pictures make people complacent rather than provoking them into action?
A: I think we need a combination of both, which is why I think that when different artists work together it’s quite powerful. I’ve always thought that a collective approach is really important. I would say that the more artists who have different approaches, but who are essentially working toward the same goal, the better.
Also, if you show a beautiful picture, you can put powerful words along with it. It’s shocking and it makes me extraordinarily angry to see what we’re doing to the environment. But I know I am not going to reach people with only very stark images. I need to show people the beauty of mountains and that they will not exist the way they do now in the future. Sometimes I wonder whether my work will end up being purely a historical document for people to reflect on in thirty years once the ice is no longer here. If that’s what I end up doing, then I’m prepared to do that. I want to start documenting the people who live there too, because I think that’s important too. John Muir and Ansel Adams, artists I love and respect, they grabbed people’s attention because they cared enough about a place to just sit there and take photo after photo of it. I think things have changed now and I might just be creating a historical document. We can tell people they’re destroying the environment, but they know it.
Environmentalism needs lots of artists. It needs a lot of us because one thing I have understood is that at first I saw my work as just me loving mountains and wanting to share them with people and warn them that these environments are not going to be like this much longer. I think what I’ve understood is that people love to go and look at art, to listen to poetry, to read stories. And I think this is the time for people who are artists to play on that interest. I think artists have a really important role to play in the process of addressing climate change, whatever their style within it.
This interview has been edited and condensed.
Read more on GlacierHub: