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KayLynn Deveney June 19, 2009

Posted by Geoffrey Hiller in Wales.

Edith and Leonard Crawshaw, Wales

KayLynn Deveney (b. 1967, USA) began working on intimate photographic stories while she was a staff photographer at the Albuquerque Tribune. After nine years at the newspaper KayLynn returned to graduate school and completed both an MA in documentary photography and a practice-based Ph.D. in photography at the University of Wales, Newport. Her work has been exhibited in the USA and Britain and is held in permanent collections including those of The Museum of Contemporary Photography in Chicago, Illinois; Light Work in Syracuse, New York; and the Portland Art Museum in Oregon. KayLynn’s first photographic book, The Day-to-Day Life of Albert Hastings, was published by Princeton Architectural Press in August 2007 and  has won numerous awards including  an official selection for the Arles Contemporary Book Prize. In December 2008 KayLynn received a grant from the prestigious Anonymous Was a Woman Foundation.

About the Photograph:

“I began photographing Edith and Leonard Crawshaw shortly after they moved from their flat in Wales into a nursing home. After almost 70 years of marriage, the Crawshaws found themselves spending the vast majority of their day sitting together, eating together and sleeping together in this one room. Edith once said to me, “When we’re sitting here I feel as if we are in a waiting room. You know, that is where we are, of course.” My interests about aging stem from my relationship with my grandmother, and my investigations about growing old and facing death have taken me on an unexpected and important journey. In this work my continued concerns, questions and fears are stirred in with Edith and Len’s daily experience. Accompanying my images of the Crawshaws are edited entries from a diary I kept during the project that help to tell a collective story about the ways we approached both our photographic relationship and our friendship. This work offers some insight into the small space that became “home” for Edith and Len as well as a glimpse inside the photographic negotiation of such a project.”