Water world
Photographer Soo Burnell on capturing the beauty of historic swimming pools
Three years ago photographer Soo Burnell was preparing for her first exhibition at Saorsa Art Gallery in Edinburgh. Now she’s back for her third Poolside exhibition there, timed to coincide with the release of her first book, To The Water. “Honestly, this has been a dream for me,” she says.
Growing up in Edinburgh, Soo found inspiration in the architecture of the city that surrounded her, but the concept for Poolside was born years later, in 2018, following a photographic project at Glenogle Swim Centre. Since then, Soo has photographed other landmark pools in Edinburgh, across the UK, and in Europe. While documenting the dramatic proportions and striking architecture of each of the buildings she photographs, Soo also hones in on the details, from the patterns of the tiles to the poolside lettering, highlighting both the geometry and the unique aesthetic of each space.
Where did the idea for the book come from?
It’s an idea that kept returning to me over the last couple of years while shooting my Poolside collection. Having connected with so many people over the pieces, where lots of people who have come to see my work have shared their own stories about the pools, I wanted to explore their stories further.
Can you tell us a little bit about what led you to begin your Poolside series?
I was reintroduced to the beauty of the Edinburgh pool’s incredible architecture while on a shoot at Glenogle. At the time, I thought it would be a one-off project. It was the pool I learnt to swim in as a child and I’d go there during summer holidays. I really didn’t appreciate the architecture of the space then though; I only really noticed it once I went back as an adult to photograph it. I spent years jumping in and out of that pool without paying any attention to the high ceilings, the rows of changing rooms flanking the pool, or the scale or grandeur of the space.
I began photographing other landmark pools in Edinburgh with the intention of capturing their striking architecture and, by contrast, the stillness housed within. I wanted to show the beauty of the architecture of these historic spaces, while minimising all of the modern elements. I love their scale, the sense of space, the high ceilings and signage, the geometry of the tiles, the typography, the lines on the bottom of the pool, as well as the colour palette and the light, and then all of that reflected in the still water. This collection led to my first Poolside exhibition in 2018.
Who has inspired you in terms of your photography and aesthetic?
I am hugely inspired by and I have often mentioned how much my work is influenced by Wes Anderson. Recently I have been looking to cinematic imagery from other directors such as Terrence Malick, Stanley Kubrick, and Jean-pierre Jeunet. They all have such great attention to detail. I thought Bong Joon-ho’s imagery in Parasite was also incredible.
I love the work of architecture photographer Julius Shulman. His book, A Constructed View, is beautiful. Californian architecture, along with Impressionistic painting and composition, have long been influences of mine too.
How would you explain the relationship between the spaces and the figures within your photography?
My Poolside work explores my passion for architecture and composition, capturing the striking geometry, dramatic proportion, and atmosphere of each individual space. The eye is immediately drawn in to the architecture, then the symmetry
and reflections of the water, and finally to the swimmers, who highlight the scale of these spaces. I love the orderliness of symmetry. I find that it calms my busy mind. Finally, there is nostalgia in my work, which is something that came from the project as opposed to something I set out to achieve.
What materials do you use to create your artworks?
When printing, I’ve been working with a beautiful cotton rag paper that has a lovely velvety peach finish, and I’ve also been exploring printing on Grafix linen, which has the most incredible matt finish and gives the finished pieces a painterly quality.
Have you had a favourite location so far?
I just can’t pick a favourite! I really love them all and they are all so uniquely different. Marshall Street (in London) is incredible with its vaulted ceiling and marblelined floors. The roof structure of Leith Victoria (in Edinburgh) was a surprise, particularly as I have always wondered what awaits behind that building. Portobello’s dark mahogany detailing was really inspiring for my new work there. As for a wish-list, Japan and Berlin are top of my list of places that I’d like to visit and photograph.
Who did you collaborate with for the book?
I worked with Dan Leckie from Rightly So for nine months selecting images, book linen, ribbons, and end papers. I enjoyed every second of it. Dan was absolutely wonderful to work with; he has incredible attention to detail. Guillermo Cairo of Cairo Art is an amazing graphic artist and designer, and he worked with me on all of the post production. There’s also a lovely behind-the-scenes section at the back with photographs and an interview with me and Susan Docherty, who is the owner of
Lifestory in Edinburgh and has been a friend for many years.
How did Wally Koval of Accidentally Wes Anderson become involved in writing your foreword?
Wally and I have become Instagram friends over the last four years. He’s such a lovely person and a wonderful supporter of my work. I am so honoured to have him write the foreword for the book – along with the incredible graphic props designer Annie Atkins on the back.
What do you hope that people discover about these pools and these spaces through To The Water?
Each one is a uniquely special building but, more than that, these buildings evoke a feeling of time standing still, of holidays that stretch on and on. They’re a view to the past rooted in the present, in the everyday of children’s swimming lessons and commuters diving in at the end of a long day at the office. Each one is a working pool that just so happens to be stunningly beautiful; a living history that safely houses its intricate details, preserved in time for us to enjoy forever.