Peter Sutherland is a name synonymous with contemporary photography that pulses with energy and a raw, unfiltered view of life. From his early days immersed in skateboarding culture to his current status as a celebrated artist and photographer, Sutherland has consistently captured the vibrant, often overlooked moments that define our world. This exploration delves into the journey of Peter Sutherland, examining his influences, photographic style, and his unique perspective that has garnered attention from both the art world and commercial clients alike.
Born in Michigan but raised in Colorado Springs, Colorado, Sutherland’s formative years were shaped by a unique blend of conservative values and the burgeoning outdoor lifestyle. Colorado, as he describes it, is a state of contrasts, from the military bases to the posh resort towns. This duality, coupled with the free-spirited imagery of ski culture and the Grateful Dead, imprinted on Sutherland a sense of limitless possibility. It was this backdrop that nurtured his early fascination with skateboarding, an activity that would inadvertently become a pivotal force in shaping his artistic trajectory.
Moving to a place with paved streets opened up the world of skateboarding to Sutherland. He didn’t anticipate it becoming a cultural phenomenon, but it did. Skateboarding exposed him to a diverse range of people and places at a young age, igniting a passion for travel and a desire to learn through exploration. This early immersion in a dynamic subculture instilled in him a natural curiosity about people and their lives, a curiosity that remains a driving force in his photography. Sutherland’s work is characterized by a tangible physicality, an inherent energy, and a sense of movement. He consciously avoids a studio-controlled aesthetic, preferring to capture the spontaneity and surprise inherent in everyday life.
Sutherland’s photographic approach is deeply rooted in observation and being present in the moment. He articulates a keen awareness of how environments transform with time and perspective. A place can appear drastically different from day to night, or even from different angles. This constant flux of perception fuels his artistic process, driving him to find endless photographic opportunities in the mundane. He sees “possibilities in everyday life,” and his talent lies in extracting compelling narratives from these ordinary scenes.
While Sutherland’s personal work thrives on spontaneity and discovery, his approach to commissioned photography, including advertising work, is equally thoughtful, albeit within different constraints. He views portrait commissions as collaborations, aiming for relaxed and genuine interactions rather than rigidly posed shots. Interestingly, he embraces advertising assignments, an area often shunned by artists. Sutherland finds enjoyment in the challenge of creating impactful imagery within tight deadlines, often just a day or two. He recognizes the importance of casting, location, and capturing a specific energy, drawing parallels to Terry Richardson’s ability to create captivating images with seemingly simple setups. Sutherland believes his approachable demeanor fosters trust, contributing to the success of these collaborations. He understands that advertising demands aspiration and visual appeal, a contrast to his personal work where he seeks “subtle humor or poetry.”
The diverse range of Peter Sutherland’s work is exemplified by his surfing photography and his ability to seamlessly transition between personal projects and commercial assignments. He recounts a memorable trip to Alaska where he photographed snowboarding and surfing in the same day for an advertising agency, highlighting the exciting opportunities that commercial work can provide. Another project took him to Uganda for Eden Clothing, showcasing the global scope of his photographic endeavors. These experiences underscore Sutherland’s gratitude for the travel opportunities afforded by his profession.
Reflecting on his roots, Sutherland contrasts his New York City apartment living with the spaciousness he experiences when returning to Colorado. He appreciates the “sensibilities” he gained in New York and how they inform his renewed perspective on his home state. He views much of his work as “found art objects,” suggesting a keen eye for discovering and framing compelling scenes that already exist in the world around him.
One photograph that Peter Sutherland describes – depicting people climbing under a fence at a Burning Spear concert in Brooklyn – reveals his ability to find deeper meaning in seemingly simple moments. He appreciates the “figurative” quality of the image and the collaborative effort displayed by the individuals in the frame, drawing connections to themes of border crossing and mutual support.
Sutherland’s move to New York City was somewhat serendipitous, sparked by free plane tickets and a curiosity to experience the East Coast. He arrived without a concrete plan, but the city’s vibrant energy and artistic scene soon drew him in. His foray into photography began when his brother gifted him a camera at the age of 23, coinciding with the passing of his father. Photography became a channel for processing grief and a newfound passion. Within weeks, he had a collection of photographs and self-published a magazine titled “Unscathed.” This early initiative led to his first paid photograph for Vice and inclusion in a group show at Rivington Arms, pivotal moments that solidified his belief in his photographic path.
Despite his success in both commercial and art photography, Peter Sutherland identifies primarily as an artist. He acknowledges the “odd gray area of photography” and how its perception as art can be contingent on context and presentation. He values the immediacy of photography, contrasting it with the lengthy process of filmmaking, his initial artistic pursuit. The rise of the internet during his early career allowed him to connect with like-minded artists and engage in a visual dialogue, further cementing his commitment to photography.
Sutherland cites artists like Raymond Depardon as inspirations, appreciating their seemingly organic career trajectories where recognition arises from consistent dedication to their craft. He embraces a prolific approach to image-making, extending his creative output to books, t-shirts, and various projects. This diverse output reflects a lack of preciousness about individual images and a commitment to continuous creation. While he actively pursues opportunities, he maintains a grounded perspective, content with either achieving mainstream art world recognition or continuing to carve his own unique path.
One particular photograph that Peter Sutherland mentions – capturing graffiti seemingly leaping off a building while jogging across the Manhattan Bridge – became unexpectedly popular online. He attributes its appeal to its dynamic composition and the layered history embedded within the graffiti-covered wall. This anecdote illustrates Sutherland’s spontaneous approach, even carrying his camera while jogging to capture fleeting moments.
His early fascination with graffiti in New York City led to his first book, a portrait series of taggers where he had them incorporate their tags into the images. This project provided him access to the underground graffiti scene and interactions with notable figures like Revs and BFR.
Looking ahead, Peter Sutherland is immersed in editing a documentary film about Richard Prince, a project five years in the making. Titled “Wild History,” the film promises to be a personal portrait of the influential artist. The genesis of the film stemmed from a Vice shoot with Prince, which Sutherland leveraged into a long-term filming opportunity. He describes Richard Prince as an inspiring figure, grounded by his working-class background and possessing a genuine curiosity and restless artistic spirit. The film, while initially envisioned to capture Prince’s high-profile art world engagements, evolved into a more intimate portrayal, focusing on his “comfort zones” and including footage from his Guggenheim retrospective and a court case.
In conclusion, Peter Sutherland’s journey as a photographer is marked by a consistent pursuit of capturing the energy and essence of everyday life. From the influence of skateboarding culture and the diverse landscapes of Colorado to his immersion in the dynamic urban environment of New York City, Sutherland has honed a distinctive photographic style that blends spontaneity, observation, and a deep curiosity about people and their surroundings. Whether through his personal art projects or commissioned commercial work, Peter Sutherland continues to contribute a unique and compelling vision to contemporary photography. His ability to find art in the everyday, coupled with his energetic and collaborative spirit, solidifies his position as a significant voice in the field.
