In her multidisciplinary output, Ingrid Pollard frequently brings together photography with printmaking, text, found objects, video and/or audio to form “surprising compositions that challenge the viewer to look beyond their own preconceptions of race, history and identity”, as Louise Benson writes in her interview with the photographer, media artist and researcher for Elephant 45. Take this untitled montage from 1991, for instance, which cleverly combines words and photography to probe at preconceived notions of female success. As with all Pollard’s work, it requires the viewer to piece together its various elements and reach their own conclusions. “People have got to work in my exhibitions,” the artist tells Benson, “and spend time thinking, ‘Why is that there?’”
