Emotional Archaeology

  • Dates
    2021 - Ongoing
  • Author
  • Location Burnham, United Kingdom

A house, a home, a heartache.

What my parents didn’t know when they started a family was that they were both carriers of an ultra-rare and fatal genetic condition called Pompe Disease.

I am their eldest, and only, surviving child. I was born in 1970, and my genes are totally unaffected. Mum and dad had one faulty gene each - a missing enzyme on Chromosome 17. In the lottery of genetics my younger brother and sister inherited both sets of faulty genes.

My brother Rupert was born in 1973 and died later that year. My sister Caroline was born in 1974 and died in 1975. Both were under a year old. Fewer than 10,000 people in the world have Pompe.

Among my earliest memories are the day my brother died, being told about my sister’s death and then the day of her funeral. Eventually, we became a close family of three. Somehow my parents got through, but grief always remained in our house.

Dad died just before Christmas 2020, a little over three years after mum. Now I had the task of clearing the family home that my parents had moved into in 1967 and had never left. For years I had wanted to tell the story of my siblings, but I didn’t know how to begin. Until now. I realised that the house and its contents could be both a vehicle and a metaphor to tell it.

I photographed everything in the house: the clutter, the objects, the papers, the spaces, the dirt, the light. My approach was emotionally forensic, and I felt like an archaeologist peeling back the layers of a family story. A medical aspect to the images was also important because of genetics. I found objects with hidden inner spaces and got them x-rayed - like mum’s pin cushion, to see where all the pins went. Then I bagged up the dust and took it to the University of Cambridge to reveal its hidden inner worlds using an electron microscope.

I have mixed my own images with those from my family archives. I have wanted to examine the past and the present, to look at the detail of each surface and to see through spaces, objects and above all time - as if everything has its own DNA. I have needed to find pictures for events and things where there are no pictures, and to show what is missing and what remains. It has been a strange form of inheritance.

© Oliver Woods - Image from the Emotional Archaeology photography project
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When I removed my parent's bed I found a vast amount of dust underneath. There were also various objects: a pencil, coins, mum's make-up and a medicine dosing spoon. The dust had formed an outline or a trace of the bed's presence.

© Oliver Woods - Image from the Emotional Archaeology photography project
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My parent's bed, as I found it when I came to the house on my own for the first time after dad died. Mum had died a few years before, so it had become his bed. It bore the imprint of his last morning. I couldn't disturb it for nearly a year afterwards. But I did photograph it at the start of the project.

© Oliver Woods - Image from the Emotional Archaeology photography project
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Mum and dad married in February 1967, three months after they met. They were teachers at the same school, and they kept their relationship secret. Their swift marriage surprised everyone at the school, and the story made the local paper.

© Oliver Woods - Image from the Emotional Archaeology photography project
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A pencil self portrait by my mum, dated 17 September 1975. Mum drew this at a pivotal moment in her life, after the death of two of her children, my brother in August 1973 and my sister in April 1975. Mum's face - and her eyes - are in total contrast to how she looks in the newspaper photo.

© Oliver Woods - Image from the Emotional Archaeology photography project
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My younger brother Rupert from the family album. It was taken in 1973 at the local park, about a week or so before he died. The blurry, out of focus quality of the photo makes him seem both present in the picture and distant, like a faded memory.

© Oliver Woods - Image from the Emotional Archaeology photography project
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Medicine dosing spoon found under mum and dad's bed when I cleared the house. This object is often used to give medicine to children, but it had also been used by one of my parents.

© Oliver Woods - Image from the Emotional Archaeology photography project
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A close-up view of my parent's glass-fronted china cabinet. I can see the distorted reflection of the dining room and its disordered contents, and the garden beyond. It is also a picture of being shut out, perhaps emotionally. I was three when my brother Rupert died, and I was sent to the neighbours house. What I remember most about that day is looking at the ornaments in their cabinet.

© Oliver Woods - Image from the Emotional Archaeology photography project
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A medical aspect has been important to this project due to the missing enzyme on Chromosome 17 that was fatal to my siblings. Everyday objects were x-rayed to reveal things hidden inside. This closed box contains ordered and disordered cutlery. It is like a metaphor for faulty genetics within the structure of DNA.

© Oliver Woods - Image from the Emotional Archaeology photography project
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On the day of my sister Caroline’s funeral, I remember walking behind her small coffin. Everything felt surreal. My five year old response was to collect some small green stones; a few loose chippings from a graveside. My siblings are buried together and I laid one of these stones as my offering. The rest I put in my pocket. Years later I found them when I was clearing out the house.

© Oliver Woods - An electron microscope image of a feather from my dad's pillow found in the dust under the bed.
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An electron microscope image of a feather from my dad's pillow found in the dust under the bed.

© Oliver Woods - Image from the Emotional Archaeology photography project
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A reflection in the window of the fireplace in my empty childhood bedroom, with a view of the garden at dusk. The house would be sold not long afterwards. This picture encompasses feelings of loss on different levels. It is a reminiscence of my childhood, the passing of my parents and my siblings and saying goodbye to the house I grew up in.

© Oliver Woods - Image from the Emotional Archaeology photography project
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A corner of the front room with a painting of my brother. Mum painted this after Rupert died in 1973 from photos of him and his clothing, like a composite. The painting and the space it occupies always felt "loaded" and heavy, as if you could sense something was missing. Like an icon hanging on the wall, the painting was a mute witness at family events and gatherings.

© Oliver Woods - Image from the Emotional Archaeology photography project
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Family album photo of me taken at Christmas, in the late 1990's, during my twenties. Mum did the painting on the wall of my sister Caroline in 1975. It is the companion picture to the one of my brother. This painting and the space it occupies always felt "loaded" and heavy, as if something was always missing. Like an icon on the wall, the painting was a mute witness at family events.

© Oliver Woods - Flowery mid-1970's wallpaper on one wall of my parents' bedroom.
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Flowery mid-1970's wallpaper on one wall of my parents' bedroom.

© Oliver Woods - An electron microscope image of pollen found in a dust sample from the top of a wardrobe.
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An electron microscope image of pollen found in a dust sample from the top of a wardrobe.

© Oliver Woods - A photo from the family album of my little sister Caroline asleep in the pram, taken in 1975.
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A photo from the family album of my little sister Caroline asleep in the pram, taken in 1975.

© Oliver Woods - Image from the Emotional Archaeology photography project
i

An x-ray of mum's old pin cushion. When I found it I immediately wanted to know where all the pins went on the inside. I see this image as a symbol of her internalised pain, with the shape being reminiscent of a human organ. It is also falling in space and it could be a tear or a bomb.

© Oliver Woods - Image from the Emotional Archaeology photography project
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My childhood bedroom doorway, as seen from where my old bed used to be. This picture is about me reuniting with my inner five year old child, and taking him by the hand to break free of the past. When I took the picture I realised that my camera was exactly where my head would have been when I slept in that space as a child.

Emotional Archaeology by Oliver Woods

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