I grew up in Hull on the East Yorkshire coast of the UK. Growing up I spent a lot of time walking the beaches, collecting natural objects such as stones and driftwood. Over time I began to notice more and more man-made waste, especially plastic, washing up onto the shoreline of a local nature reserve that deer, seals and rare birds inhabited.

This was particularly shocking to me and I wanted to let other people know what was going on. Whilst studying for a Master’s Degree I realised how photography could be a powerful form of communication that could educate, inform and increase awareness, in my case about the over consumption of plastic entering the sea and the harmful consequences.

When I created the SOUP series in 2011, I had no idea that it would go viral around the world. It was quite incredible, I think because this was at a time when not many people had heard about the marine plastic issue and also because the images were a visual way to connect people, rather than reading a text article.

The reactions from prestigious publications and platforms you mention have been a huge support that have kept me going over the past 15 years and to only focus on photographing plastic pollution. It means that my work has been recognised at the highest level and that presenting the issue in an accessible way connects a wider audience, and in some way helps to inspire change.

I have always found clothing and textile waste washed up on the shore, but in 2012 one particular piece of cloth I found in a rock pool, I mistook for a piece of seaweed. This led me to recover clothing from around the coastline of Britain over the next 10 years. I knew that I wanted to represent how this piece of clothing had mimicked seaweed, but it wasn’t until I viewed Anna Atkins original book ‘Photographs of British Algae: Cyanotype Impressions’ of 1843, that I realised the possibility of re-creating similar work that could engage how we look at science and in connection with a present-day critical issue. Changing the title to ‘Cyanotype Imperfections’ further reflects the imperfect world of the fashion industry, of mass-produced clothing and of its waste.

During the past 10 years collecting clothing from the shoreline has endorsed articles concerning cheap fashion which is only getting worse and destroying the planet. Our addiction to disposable fashion contributes to ocean pollution in many ways, with harmful chemical run offs from dyeing, and microfibres from washing. According to the International Energy Agency, “Every year, the fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined” and with the British Fashion Council stating that, “There are enough clothes on the planet to dress the next 6 generations”.

‍My work has to be accurate if it is to be believed. It is essential to the integrity of my work that I don't distort information for the sake of making an interesting image and that I return the trust shown to me by the scientists who have supported my work. Although aesthetics are important, it has more to do with representing the facts of how we are affecting our planet and changing environments.

I aim to inspire action on all platforms and at all levels through my work. At an individual level, to make the public aware of facts concerning the detrimental effects of marine plastic, and in this particular project of the overconsumption of cheap plastic clothing. 

In terms of my work being presented to government, having been exhibited at the United Nations headquarters and at international marine debris conferences, it is hoped these opportunities will have helped inspire policy changes. If photography has the power to encourage people to act, to move them emotionally, or at the very least make them take notice, then this must surely be a vital element to stimulate debate, and ultimately change. If I didn’t believe my work did any of these things then I wouldn’t be motivated to continue.

Choose to represent something that means something to you, because there is a good chance that it will mean something to others. If you feel strongly about what you are doing this will carry you along. Wherever you can get advice from others, the public, friends, family or experts in that particular field, it is important to get a rounded overview of your work and not to get feedback from one particular type of audience. 

Get your work out there! It doesn’t matter where, you can start off displaying work on the walls of a café or in a community space where people can see it, you never know who will pass by and there is no point in keeping it in a folder under the bed. Keep going and believe in what you are doing! It is hard work and will be tough at times, but when someone makes a positive comment, or lets you know that they will buy less plastic in my case, it makes all the effort worthwhile.

Support Mandy Barker’s Photographs of British Algae: Cyanotype Imperfections on Kickstarter to help bring this powerful project to life. By backing the book, you’ll not only own a piece of her groundbreaking work but also contribute to raising awareness about fast fashion, ocean pollution, and the urgent need for change.

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