Peggy’s story as I see it from a thick file of photographs, began in August of 2001 and ended (photographically) in an emotional session in my studio in January 2004.
It was in August of 2001 that I received a most interesting assignment from the Straight’s art director Annette Waurick. In retrospect Waurick was the best they ever had. She was let go and ended up doing just nicely for Homemakers in Toronto. In those days the Fall Arts Preview was a big thing at the Straight. They insisted on original photographs (no handouts, please from the arts organizations!) and they would get very upset if any picture in the Straight somehow appeared in the Vancouver Sun.
There was a nice aggressive competition that suited me fine. Waurick’s request was that I “rip off” Man Ray’s famous photograph of Kiki with f-holes on her back and to somehow adapt it in colour to reflect the arts. This meant that I needed a subject who would pose undraped. I immediately called Cori Caulfield as she had and has a most beautiful back (and everything else). I liked the idea that my subject would reflect one of the arts, in this case that of dance. Cori was apologetic. “Alex I would love to pose for you but I am extremely busy. I am going to send you one of my best ballet students. She is 21.”
Peggy arrived. By then I knew she had a green tattoo of a frog on her right shoulder. I had told her to have her girlfriend draw the f-holes with a green marker. My Argentine painter friend had lent me his brushes and I had purchased at a pottery sale a mask to represent theatre.
Man Ray had placed a piece of paper on the right hand bottom of his picture with his name and date. I did the same. Working with Peggy was a pleasure. She had never posed for a camera before but she was a natural and told me that she liked being photographed and wanted me to photograph her again. This I did most willingly.
Below photographs that show her many facets.