Ida Anderson

Ida Anderson (Anna Komissarova) is an analogue photographer and writer with a background as a psychoanalytic psychotherapist. She has authored several publications focusing on psychoanalysis in contemporary art and photography as well as an educational course.

Blue Valentines, named after the Tom Waits song, is a series of postcard-sized cyanotype photographs turned into ruminations and recollections of memory regarding the Russian diaspora (both literally and metaphorically) in the aftermath of the Russian-Ukrainian War. For those opposed to the war and are seeking a sense of longing to normalcy from their homeland, her vintage-appearing photographs of Moscow scenery in tints of deep analogue blue containing intimate poetic scenes are intended as a form of visual and literary communication. Printed as a literal postcard, the photographs invite the viewer to write back to those reminding them of their Russian mainland. Not all the photographs are serene reminiscences however, as there is at least one photograph depicting buildings being hit by munitions and another of open-desolate landscape on the frozen ice with an ominous figure traversing the unknown of the seemingly endless void. 

These poetic and labor-intensive cyanotype prints depict cherishable scenery such as lovers engaging each other in an isolated setting, dilapidated buildings which still echo strains of vitality and character as well as pigeons frolicking in impressions of analogue-captured distorted light upon the urban landscape. The original prints are developed under ultraviolet light and water in order to achieve a rich blue-tint to the photographs. Ida Anderson’s intimate communication in turning these prints into printed postcards are meant as a form of conveying human connectivity and reactions to human impact regarding the impressionist capturing of strategic subjects which invoke memory. These collector-grade postcards are meant to be cherished as priceless works of art rather than as a novelty because of their direct connection to convey the viewer a concept. An idea of their homeland as an ideal and precious commodity echoing personalized culture and interconnectivity to comrades as well as fond memories of structure and landscape. The streaks of light and impressions of grains in the analogue photography are minimalist in nature, conveying a sense of purity and enlightenment. 

Blue Valentines V. 23 (pictured above) depicts an intimate scene of lovers kissing under a dilapidated yet personalized cropped structure. The deep blue analogue tint add an authentic texture to the devoted imagery of tenderness and care. Above are the words “LUZER” graffitied on the wall as they sit upon the raw earth to engage each other. Such connotations are meant to convey the irrelevancy of the outside world in regard to engaging with personal connections. 

A photographer with conveyance and scope, Ida Anderson uses literary and analogue processes to communicate the relevance of location in regard to personal identity. Through a delicate undertaking and strategic capturing, she embodies the role of photographer as a poetic muse, contemplating on the purpose recognizable settings and how they fit in the overall retelling of our collective as well as personal narrative. Ida Anderson uses the antiquated cyanotype process not as a reflection of technique for technique’s sake, but rather as a tool to convey delicate impressions of light and color, basking in deep psychological impulses in relation to the purpose of image-making in regard to associations and fleeting memories.