“I was very moved by their mission,” explains Eli Durst, speaking from his home in Texas, “so I just started photographing them and the work really grew out of that”. This work – which forms Durst’s new book, The Four Pillars – is a record of the years he spent with the residents of Newtown, attending their church basement meetings and exploring the ways in which they processed their collective grief.
Aesthetically, the images Durst created owe much to long-standing documentary traditions: intimate moments and lonely objects, captured in striking and emotive black and white. His stories of families and individuals appear collected and sewn together, presenting an unbiased glimpse into the lives of a little-known community. But Durst is not a documentary photographer. He has, he says, no faith in the objectivity of photography as a medium. Instead, he takes his inspiration from what he describes as “aspirational photography”: the holiday card; the maternity photoshoot; the smiling, happy family.
“[The people of Newtown are] not the subject matter of most of the images,” he explains. “But they were the inspiration behind the ideas or the concepts or some of the scenarios that I was orchestrating or restaging.” These restagings explore what these ostensibly normal and successful people really wanted from their lives, interrogating the relationship between the personal and the performative, the individual and the group, and the societal norms to which we are all expected to aspire.