Degree: MFA
University: Royal College of Art
Graduation Year: 2024
Allison Gretchko, a recent graduate of the Royal College of Art, is a photographer whose work is imbued with a breathtakingly thoughtful, romantic, and nostalgic quality. Her artistic practice delves into the interwoven themes of care and consumption, exploring artefacts, inheritance, personal archives, and memory. Through her lens, Gretchko examines the fluid nature of photographic images, uncovering intimate relationships and behaviours that connect people to places.
Gretchko's distinctive use of analogue photography and natural light is central to her romantic and nostalgic aesthetic. By choosing analogue methods, she embraces the imperfections and tactile qualities inherent in film, which imbue her work with a timeless, evocative charm. This approach allows her to capture the subtle interplay of light and shadow, creating images that feel both intimate and ephemeral. The use of natural light, in particular, acts as a sense memory, triggering emotions and nostalgia much like a familiar scent or melody. This technique not only enhances the romantic quality of her photographs but also highlights the elusive nature of both image-making and memory, inviting viewers to engage deeply with the storytelling within her images.
In her project *Who drinks your tears?*, Gretchko explores the notions of collective memory and cyclical return through autofictious photographs of a generational family home. This series postulates scenes of domesticity as ecosystems for familial formation, tactile memory, and materiality, questioning the archive of inheritance in both physical and psychological terms. Her photographs invite viewers into a haunting interplay of light and life, framed by dense shadows and the semblance of human presence, drawing them into the motions and memorials of past and present.
Gretchko's work perhaps resonates with the thoughtful romanticism and nostalgic depth found in the works of contemporary photographer Mona Kuhn. While Kuhn is best known for her large-scale, intimate depictions of the human form, Gretchko similarly employs natural light and a sense of intimacy to evoke a deep connection between the subject and their environment. Both artists use their medium to explore themes of memory, interconnectedness, and the ephemeral nature of existence, creating poignant and evocative narratives that linger in the viewer's mind.
As an emerging artist, Gretchko's work offers a unique investment opportunity. Her editions are small and her prices remain accessible, making her pieces not only a profound addition to any collection but also a promising investment for the future. The intimate and evocative nature of her work, combined with her distinctive use of analogue techniques, positions her as a compelling artist to watch and invest in now.
My artistic practice focuses on the interconnectedness of people and place through habitual and temporal representations. Focusing in on artifacts, inheritances, personal archives, and memory to explore threads connected to care and consumption in intimate and domestic settings. My work examines the ideology of factual fluidity in relation to the photographic image, and the duality that shares with human memory across space and time. I seek to uncover intimate relationships and habits that exist both physically and psychologically in site-specific locations in order to bring the private sphere into the public gaze.
Relying heavily on psychogeography and intuition to direct my movement, I embrace the nuances that analogue photography provides to the unpredictability of the environment. Natural sunlight is my methodological tool to uncover and dissect the hidden ecosystems that interconnect people and places. I document what the sun chooses to fall upon, capturing the beams of light as its own figure, acting as an embodiment of space, movement, and memory. Examining the inherited ecosystems that connect collective experiences to private environments through the ephemerality of material and objects, I touch on both the spatial and temporal.
Duality is important to my research, especially regarding the fickleness of image-making and memories as tools of fictionalizing reality. Photographs, similar to memories, never tell the complete story. My photographs operate within this friction, inviting the viewer to decipher the innate intimacy and storytelling for themselves. I ask the viewer to confront the consequences of intimacy made open to the public gaze.
I currently reside in London, having completed a MFA in Arts & Humanities (2024) and an MA in Photography (2023) from the Royal College of Art after working for nearly a decade as an in-house commercial photographer.
(2024) New Blood Art Emerging Art Prize 2024 Nominee