In Sank’s images, location and environment provide the narrative for a portrait. By recording her subjects in their surroundings – a park, a living room – the photographer prompts us to reflect on the connection between an individual and their ‘space’.
In the case of Touch-Line however, the location is not topographical. There are suggestions of Exeter and Devon – a glimpsed church spire perhaps – but the subjects are not in their natural location. Physically, the rugby pitch is nondescript. The space depicted in Touch-Line is instead a cultural space: an arena, a game.
In this distinctive cultural space Sank reveals there are people shouting, dressing up, reversing conventions and indulging, for a moment, in magic and enchantment.
This object is not on display.