Mary McCartney has spent decades photographing moments of affection:
. She allowed me to photograph her from when she arrived, with no makeup on, through the whole process of making up her face to getting dressed in her robes. The woman with her in that photograph is an aunt figure who helps her. We didn't speak each other’s language, but I felt a real connection with them when we were doing this.
“Embrace” is with the blow-up doll, which is funny. But then when I look at it, there's a real romance to me, because she's really got her back arched, and sort of really One side, I would say, is more poignant — like “Mother and Sister” or “Together”. If the photographs make you feel sad, it’s because you had a closeness; it's because you've loved that you feel this way. So you feel sad, but then come out of it. And then it moves a bit more to celebration, a little sexiness or coy playfulness. “Hello” with the two feet, which I really love, feels very flirty. Literally it's just the feet.
As you were going through your contact sheets, were there other striking themes that you are now considering or assembling?
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