Lee Miller and Roland Penrose moved to the Sussex countryside to live at Farleys in 1949. For the thirty-five years that followed they filled their home with a collection of modern art and objects given by some of 20th century’s most significant cultural figures. Icons such as Françoise Gilot, Dora Maar, Pablo Picasso, Man Ray, Leonora Carrington, Eileen Agar and Joan Miró were among those who came to stay. Their work is hung in the house alongside that of Miller and Penrose. The property, close to Seaford and Lewes is a treasure trove of iconic artworks displayed in cabinet or even encrusted in the walls. The house hosts the Lee Miller Archives dedicated to the conservation and dissemination of the photographer’s incredible life and work.

Adjacent to the house is another exhibition space which platforms photographers who have an affinity with Lee Miller. Currently on view and until 2nd July is Annabel Moeller: Friends to Frontiers an exhibition which explores themes of resilience, conflicts and aftermaths, women politics, bodies and art.

Ami Bouhassane, co-director of Farleys House & Gallery, said “People will know Annabel’s work but may never have realised who had created these remarkable images. We hope that her extraordinary body of work and adventurous spirit will resonate with our visitors. We are so pleased to be able to champion Annabel, building on our mission to celebrate the work of talented photographers who have not previously been exhibited. Lee Miller herself championed the recognition of other women and their achievements throughout her life, and we are proud to continue that legacy in her former home.”

What do Lee Miller and Annabel Moeller have in common? Without doubt, the urge to capture the moment, to put themselves in difficult situations but also to capture the beauty and poetry of life.

Highlights of the exhibition include a section dedicated to Moeller’s close friendships in Sydney with candid and genuine works from the 1990s. “It all started with all my friends in Sydney and these are my favourites works in the show. They all got used to me shooting them in relaxed settings. The photographs were shot pre mobile phones and social media and have a special place in my heart. For example, Penny and her eldest daughter, who is now twenty and now my goddaughter, or scenes of friends surfing. With black and white, you can practice and practice. At the time of this series, it was just me with my camera.”

These contrast with Moeller’s work documenting conflict and its aftermath during the time she spent in Iraq in 2009 and in 2011, and a series of four trips to Afghanistan, with the charity Afghan Mother and Child Rescue, to photograph the installment of maternity clinics in the majestic Panjshir Valley. It is the site of brutal offensives by the Afghan Mujaheddin and their victories against invading Soviet forces in the 1980s and the Taliban in the 1990s.

A striking work showcases young children with plastic Kalashnikov proudly standing in front of the closed British Cemetery of Kabul, a blue plaque indicates. This is where British soldiers lie buried behind the heavy gates. This remarkable shot was taken in 2012. Another fantastic work features three kids standing to the right of a bright derelict orange vehicle. This colour perfectly matches the accoutrement of the small child directly positioned to the right side of what appears to be a bus. The composition is perfect. Razor wire on Basra Air Base, Iraq, 2009 is another iconic work featuring barbed wires in the shape of two hearts. Simple and powerful.

Since 2016 Moeller has been working with the David Nott Foundation, a humanitarian organisation dedicated to training doctors and surgeons working in conflict, witnessing first-hand the ability for bodies to be repaired in incredibly challenging environments. She has worked with a number of other high-profile organisations and institutions for a number of years, including the English National Ballet (2007-2013), the House of Lords (since 2012), and the Royal Albert Hall (since 2017).

The next section of the exhibition is a little lighter. It presents Moeller’s time spent photographing prominent performances of the English National Ballet from 2007-2012, including at iconic venues such as the London Coliseum and Royal Opera House. Photographs from this period demonstrate how Moeller succeeded in lifting the lid on the rarefied world of ballet, revealing the raw power and grit that lies behind the beauty and apparent effortlessness of the dancers’ performances. Here, Suzanne Johnston as Carmen, Sydney Opera House, Australia, 1995 features the singer directly confronted with a pistol and with an open mouth suggests anger, death and courage. A metaphor for Moeller’s career and courage.

–

Images: Copyright Annabel Moeller