Fiona Clark's photos of new Zealand's LGBT culture were unseen for 30 years:
That it was letting people be visible and saying we're here, we're not going away, we occupy space, accept it. They weren't confrontational—for me they weren't. They were portraits of people I had an affinity with, and who I wanted to record. People said,"can't you just photograph common people?" But these were the common people in my life. And still that doesn't exist that much.
With attitudes that ingrained, how did you manage to develop any reputation? As you said, a lot of your work is only now being fully exhibited. I'm like the people I photographed and hung out with, we're survivors. I just survived it. I admired the tenacity and survival capabilities of those people. They are more hardened than I am. People have lived far tougher lives than me. And I have always had a belief in the work. The work is about survival.Why didn't you just leave New Zealand? London, New York, even Australia were beginning to celebrate content like this.
I considered it. I thought of going somewhere and studying—to London to the Royal College of Art. That was the progression from Auckland as an artist. But after the Active Art show I had a prosecution, and I felt pretty beaten up. Galleries were saying,"no you're not showing here." I sort of snuck off to the country. And I still live here, in the same place a snuck off to 40 years ago. Then I had a bad accident so I couldn't go anywhere for a couple of years.
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