MARCH 19, 2009 ISSUE
Banister Pope
High Country Artist, Photographer Captures the Past While Embracing the Present
Two of these portraits are included in Banister Pope’s photography exhibition at the Jones House in downtown Boone. At far right is a photo recently taken of High Country Press’s own Anna Oakes. Photos courtesy of Banister Pope
On the third story of Banister Pope’s four-level studio, I stood in perhaps the most alluring room of the house—an oversized closet full of costumes and wardrobes for use in his photo shoots. I was tasked with selecting from two overstuffed racks of dresses and skirts, period pieces, Renaissance-evoking robes, lace, satin and silk three pieces to wear in my first-ever photo shoot.
Although this is a feature about Banister—and certainly not me—he proposed the photo shoot as a way for me to experience firsthand his artistic process. Reluctant at first, I convinced myself that the session could prove to be useful to the story and, in fact, fun.
An exhibition of Banister’s photography—one of many media in which he has worked—is on display at the Jones House Mazie Jones Gallery in Boone throughout the month of March. The display features about a dozen of Banister’s larger-than-life, 26- by 38-inch portraits in frames on the walls, and on several antique nightstands and tables are 175 framed photos ranging from 2.5 by 3.5 inches to 8 by 10 inches. All of the photographs are in Banister’s signature style of Victorian-era romanticism.
At 58 years old, Banister is one of the most established and respected artists in the High Country. Standing well over six feet tall, with grayish-white hair and block-shaped beard and mustache, creviced skin and light blue eyes squinting behind thin wire-framed spectacles, and a deep, booming voice to accompany the appearance, Banister looks more the part of a mountaineer than an artist—more likely to be found lumbering over craggy Blue Ridge peaks than crouching behind a camera lens or standing before a canvas. But the gruff, “extra-large, middle-aged, bearded-american studio artist and photographer,” as Banister likes to refer to himself, has an eye for tender subjects and romantic themes.
Banister on the deck of his studio in Boone. Photo by Heather Hendricks
“Banister holds an important spot in the High Country’s arts community,” said Hank Foreman, assistant vice chancellor for arts and cultural affairs at ASU and director of the Turchin Center for the Visual Arts. “From the early years of the 20th century until recently, it seemed that the arts within the United States implied a gathering of emerging and established artists banded together in places like New York and ‘the bay area.’ This extreme centralization … doesn’t hold as much sway in our minds as it has in years past. The value of our regional and community artists is more recognized.”
One floor below the costume closet, Banister prepared his studio area, carefully and deliberately arranging the folds of his velvety, burgundy curtain backdrop, adjusting the lines to suit him, and later, adjusting them further based on my height.
“The curtain is very important,” he later explained. “It sends the message that this is theater.” His portraits are just as much about acknowledgement of the mindful construction of the shot as they are about the subject, he said.
Banister said he’s been a photographer for “forever.” He was first introduced to the “absolute romanticism” that guides his work while in college in Alabama. The works of 19th-century English photographer Julia Margaret Cameron profoundly influenced him and continue to do so today. Cameron became a photographer at age 48 after receiving a camera as a gift and went about photographing family, friends and the celebrities of the day. The subjects of her portraits are striking in their emotions, in their poses and in their gazes.
Portrait by Banister Pope on display at the Jones House. Photo courtesy of Banister Pope
“The same spiritual quality that comes through in her work is what I want to come through mine,” Banister said. “I think we have an obligation to explore our spiritual natures—mine just happens to be photography as a vehicle.”
His ongoing Victorian portraiture work stretches over 20 years. “What I’m looking for in my work, I’ve been looking for it that long,” Banister said. The work we admire is what moves us, he said, and for him, that’s Victorian portraiture. Using just a few elements in the portrait, you’re able to evoke experience, he noted.
The majority of his subjects are women, because “it’s that heartbreaking devotion in women that moves me,” he said. He looks for models with a timeless look and big features—long hair, dark, deep eyes, heavy brows, big noses. Those familiar with Banister’s work recognize those qualities and say to people, “You’re somebody Banister would like to photograph.”
The expressions of the women in Banister’s portraits are solemn, serene, resolute, defiant and haunting. They stare out at the viewer with looks so intense that, especially with the large-format photographs, it’s difficult to hold their gaze. It’s these evocative expressions and feelings and implied experiences that are the true subjects of Banister’s art—not merely the women themselves.
“The large photographic portraits vibrate subtly—warmly and evoke a narrative about the subject,” Hank said. “In works with and without props, the images are empowered to express a sense of the person, of a life, and offer a poignant sense of intimacy for the viewer.”
Banister Pope’s exhibition at the Jones House includes about a dozen large-scale portraits and 175 smaller framed portraits arranged on antique tables and nightstands. Photo by Heather Hendricks
At the opening reception for the Jones House exhibition, a woman thanked Banister for showing feminist work. “I said, ‘Thanks for noticing,’” he said, noting that his portraits reflect the strong qualities in women—not the weak ones.
While Banister strives to capture the Victorian romanticism of the past in his work, he has wholly embraced the technology and tools of the present. He shot with film for 30 years before switching to digital photography.
“When digital came along, I was scared of it,” he said, but he quickly adapted, and “Photoshop turned out to be very intuitive.”
And although several shelves of antique film cameras line one of his studio walls, he’s not wistful about the dying art of film. Film represents one era of creating images, but now we have new tools for artists, he said.
Painter and mixed media artist Dan Kaple is a member of The Collective, an art studio in downtown Boone. He describes Banister as a patriarch of the local arts scene.
“I find it encouraging that, as an older artist, he’s still excited about it and growing as an artist that has embraced new technology,” Dan said. “It’s cool to know that he’s still experimenting and evolving.”
Admittedly, I was a little nervous heading downstairs for photos, and my hands trembled slightly. Before the shoot, Banister told me, “You won’t know what I’m after, but I know what I’m after,” and then we spent about two or three hours taking some 300 shots. Like a mannequin, Banister turned my head up, down and from side to side, tussled my hair—its straight, fine strands behaved too well, he complained—and gave me simple directions about where to look. “We’re killing it right now—don’t move,” he would say from time to time. Occasionally, he explained some camera technique he was using—time-learned secrets for manipulating lighting or achieving other effects that I promised not to impart in this feature.
Banister will shoot and print portraits for commission, but patrons must first see his art, he said.
“I think people like to see themselves through an artist’s eyes,” he said.
Banister Pope's work on display at the Jones House. Photo by Heather Hendricks
Through portrait commissions and sales of his pastel paintings, Banister has been able to finance his personal artistic ambitions. He’s been a full-time artist since 1984.
“He’s been able to make art for himself and art that he sells—he figured it out,” said Jamie Carroll, 30, also a member of The Collective. Dan added, “He said he never bought into the whole starving artist thing—he knew he wanted to make money.”
Jamie and Dan say that Banister has really made an effort to connect with younger artists and support other artists by attending their openings and offering feedback. “Banister is ever-present at art events,” Dan said.
While in college, a professor told Banister, “You’re a philosopher bouncing through the halls of art.” “I took that as a license to do whatever I wanted,” Banister said, noting that he’s tried just about every medium—from sculpture to painting to photography. He said that he’s always open to new media, but “at this point in my career, I know what my strengths are.”
Jones House Hours
Banister Pope’s Victorian portraiture exhibition is located in the Mazie Jones Gallery on the first floor of the Jones House, located in downtown Boone. Gallery hours are from 12:00 to 5:00 p.m. Tuesday through Friday.
Banister Pope
For more information about Banister and his work, call 828-264-2309 or click to www.BanisterPope.com.
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