Fear at My Edges, © Sonja Langford

I began following Sonja Langford on Instagram when I saw her photographs of Southern churches. It is an interest we share, although our photographs and stories are quite different. Then I saw her series The Woman Who Wasn’t Drowning and Gynecological Instruments. I had never seen images quite like those. As I approached the large prints, framed without glass, in an exhibition, I experienced a deep connection to the work. I felt it again during this interview. Thank you, Sonja.

Sonja Langford (1994) is an artist who was raised in the American South. Her work focuses on exploring the Southern landscape (both literal and ideological) as well as the female experience. She sees them as inextricably linked and works through her practice to connect them to moments of recollection. These investigations focus on complex and often contradictory recollections of the Southern landscape as well as a feminist experience within and against it. Sonja is currently an MFA candidate at the University of Connecticut. She completed her BA in Art History with minors in Southern Studies and Outdoor Adventure Leadership from the University of North Carolina Charlotte. She has exhibited in numerous venues including the Gadsden Museum of Art (forthcoming), Southeastern Center for Photography, and GoodYear Arts.

Follow Sonja on Instagram: @sonjalangford

(Dis)Enchantment, © Sonja Langford

KB: The photograph (Dis)Enchantment is so textural and lovely. Its wrinkles and shadows bring to mind a topographic map. After Endometriosis Surgery and Song of the Cicadas also evoke a sense of landscape. In what ways specifically do you see the female experience linked to the Southern landscape?

SL: The link between the female experience and the Southern landscape in my photography is nuanced and multi-faceted, drawing upon both personal experience and broader cultural narratives. I tend to think of landscape conceptually too especially after my time and coursework in Southern Studies in my undergrad and from my time spent living in the South.

The Southern landscape often carries with it a rich tapestry of history, tradition, and storytelling, much of which is intertwined with the experiences of women. From the resilience of women in rural communities to the complexities of being a woman in the South, the landscape is just as metaphorical in my opinion and serves as a backdrop for the narratives I’m compelled by to unfold.

Just as the land bears the marks of time and experience in its wrinkles and shadows, so too do women carry the weight of their own stories and struggles. The curves and contours of the land mirror the curves of the female body, suggesting a profound connection between the two. I feel these connections speak to themes of fertility, growth, and renewal, as well as the cyclical nature of life and womanhood all things I attempted to capture in this series about the transition from girlhood to womanhood.

In essence, the female experience is intimately linked with the Southern landscape in my work through themes of resilience, connection, and transformation.

After Endometriosis Surgery-Laparoscopic Scars, © Sonja Langford

Song of the Cicadas, © Sonja Langford

Hold Out Your Hands © Sonja Langford,

Hand Me Downs, © Sonja Langford

Maiden (a), © Sonja Langford

KB: Sonja, you write of your own experience, “instead of being swept off my feet, I found myself watching over my shoulder” and “instead of enchantment, I was met with cold, sterile tools.” This is your story. I feel as if it could be my story too. The combination of your words and photographs, so deeply personal, also tells a universal story of people who identify as female.

I look at Hand Me Downs and Give Me Your Hands and see what you describe as a collage of experiences alongside your own. How have the women who have come before you inspired you as an artist and as a woman? What seeds do you hope to sow for women who come after you or who walk alongside you now?

SL: The experiences of the women who have come before me have undeniably shaped both my identity as a female-identifying artist and as a woman navigating the world today. In reflecting on my own journey and creating works like Hand Me Downs and Give Me Your Hands, I draw inspiration from the stories, struggles, and triumphs of those who have walked similar paths before me.

As an artist, I find myself continually inspired by the resilience, creativity, and unwavering spirit of women throughout history. Their voices echo through the ages, challenging norms, breaking barriers, and reshaping the narrative of what it means to be a woman in society. Their courage in the face of adversity fuels my own artistic expression, pushing me to explore themes of identity, memory, and transformation in my work.

My own experience of growing up in an extreme fundamentalist religious cult and then walking away from it less than a decade ago, are entwined in the stories I tell as I lean on the histories, lessons, and wisdom passed down by generations of women who have fought for equality, justice, and empowerment. Their sacrifices and achievements serve as a beacon of hope and a reminder of the progress that has been made, as well as the work that still lies ahead. Their stories remind me that I am part of a lineage of strong, resilient women who have overcome countless obstacles to pave the way for future generations.

In creating art that reflects both personal experiences and shared struggles, I hope to plant seeds of empowerment, resilience, and solidarity for women who come after me and those who walk alongside me now. I aspire to create spaces where women’s voices are heard, where their stories are celebrated, and where their experiences are validated. Through my work, I aim to foster a sense of connection, understanding, and empathy among women from diverse backgrounds, while also challenging societal norms and advocating for gender equality.

One of my favorite parts of this body of work and my other photographic series Gynecology Instruments is the stories that are shared with me and in the spaces where this work is shown. My hope is that my art serves as a catalyst for change, inspiring women to embrace their own unique voices, stories, and journeys, while also sparking meaningful dialogue and collective action towards a more inclusive and equitable world for all.

Gynecology Instruments #1, © Sonja Langford

Gynecology Instruments #3, © Sonja Langford

Gynecology Instruments #7, © Sonja Langford

Gynecology Instruments #8, © Sonja Langford

An Unexpected Future, © Sonja Langford

KB: I was captivated by your work at the exhibition, Bodies of Work at The Eastern Shore Art Center in Fairhope, Alabama. I had seen some of the images on Instagram but seeing your photographs large and in print was a powerful experience. They portrayed something fierce and vulnerable about “the way of being a woman.” Having had several miscarriages, I was drawn to An Unexpected Future, a photograph not about miscarriage, yet I felt an emotional jolt the first time I saw it.

Would you be willing to share the story behind that photograph and some of the others?

SI: Certainly, I’m deeply honored that my work resonated with you on such a personal level. An Unexpected Future holds a special place in my heart, as it encapsulates a deeply personal journey of grief and hope amidst uncertainty. The story behind An Unexpected Future begins with my own experiences grappling with the unpredictability of life and the myriad challenges that accompany it. While the photograph itself may not explicitly depict miscarriage, it speaks to the broader theme of navigating unexpected twists and turns in our journeys as women.

On the eve of my 26th birthday, I received some heavy news. I had just been diagnosed with and had surgery to remove dozens of lesions caused by endometriosis. It was relieving to be handed answers for the debilitating pain I had had for years. My doctor prescribed an IUD as a form of progressive treatment to keep the aggressive disease from worsening too quickly. However, my subsequent and dual diagnosis of adenomyosis was met by me with a blink. Both diseases in the advanced stages they were found in my body have serious ramifications. My womb is likely inhospitable. And now I am left with the question, how do you grieve something that hasn’t happened yet? How do you grieve a future that you didn’t expect? Life is built in with grief, but this new grief was and still is different.

In creating this image, I sought to convey a sense of both strength and vulnerability, capturing the complexity of emotions that arise when faced with life’s uncertainties. However, like many of my photographs, An Unexpected Future draws inspiration from personal experiences, as well as the shared stories of women who have faced similar struggles. Each image in my collection serves as a testament to the resilience, beauty, and power of the female experience, inviting viewers to reflect on their own journeys and find solace in shared experiences. While I may not be able to capture the entirety of each story behind my photographs in a single explanation, I hope the emotions and themes they evoke resonate deeply with viewers, offering a sense of connection and understanding in a world that often feels uncertain and overwhelming. I am truly grateful for the opportunity to share my work with you and others, and I hope that my photographs continue to serve as a source of inspiration, healing, and empowerment for those who take the time to sit with them for a little while.

This is My Cross to Bear, © Sonja Langford

Karen Bullock is a photographer living in Alabama. She is known for her documentary-style images of the American South, with a focus on expressions of faith, considerations of home, and the enduring spirit of nature. Her practice uses vivid color and light to explore the unheard voice, via gesture, sense of place, and mood. During a three-month cross-country road trip with her husband and their two dogs in 2023, Karen began a new project and is working to complete it. https://www.instagram.com/karenbpix/