Robert Tennent On The Captivating Parallels Between Intimacy And Voyeurism

Just when you thought society’s most famous offerings were political debates, a dreadful news blast and far too many uprisings, along comes Auckland-hailed Robert Tennent, a photographer whose thinking is dictated by a protective inwardness that’s both complex and endearingly simple. “I’ve always loved photography and the art of making imagery,” says Tennent, reflecting on his early footings. “Dating back to 2005 or so, my dad would let me use the small camera we had, and I would run around the house taking images of everything.” 

Modernity concerns apart, the boon for creative troopers in these strife-torn times goes beyond the feebleness of society’s creeds. Somehow, Tennent’s vision feels more like a profound, cathartic way of approaching reality, refreshed with a 2021 consciousness of emotion and atmosphere. “As I grew up, social media blew up and photography was everywhere, one click away. I studied photography and fashion which led me to complete a Bachelor of Fashion.” Which is where his latest body of work comes in, I’m Going to Miss You. With touches of fragility and strength all at once, the calamitous intensity of emotion rushing through his book made him break the wasteful old fashion-y constructs that wander through the lonesome paths of masculinity and vulnerability. 

“In my first year, I published my first photography project, a book called Come Back To Bed which documented every sexual partner I had following an assault. After this, I took a long break from photography and got into modelling. As the pandemic hit, I decided to buy an old medium format camera off eBay.” In answer to the endemic effects of the past year, could this add up to a new way of doing things, perchance? “It’s now been a year since I started shooting again,” he explains, “and as the world was still in lockdown, I saw an opportunity to document my summer, which then grew into the documentation of the relationship between different men.”

Below, Tennent caught up with Vogue to unpick summer nostalgia, documentary photography and sensuality. 

The book takes us through New Zealand’s poignant summer days, exploring soft masculinity and love in a pandemic. Is that a topic you’ve been unpacking a lot recently? 

This was the first time I had a summer off; I had just graduated, and I no longer was working at a cafe, so I decided to pack my bags and hit the road. New Zealand is in a special position as we have stamped the virus out, meaning we are back to normal. I remember sitting at the beach one day and I saw these two boys wrestling on the beach, and I thought, there is something so playful and raw about this, as well as slightly erotic. On the same beach, I saw a cute couple kissing. I decided I wanted to capture moments like these. 

Alongside a photography book, I wanted to create a necklace in collaboration with Tyler Thomas to capture the soft and beautiful tones from the book. 

There is a sense of lust simmering through the book; amidst the tender documentation of candid imagery, eroticism abounds, and the flow constantly goes back to your previous narrative,Come Back To Bed, but there’s a mysterious subtext here. What did you want to convey?  

It’s interesting that you say that because the subtext varies. There are some men in this book that I have had a past with, intimate ones. I think that comes through in some of the imagery. There is a flirtatious and lustful nature in some of the shots because of this. There is a certain level of trust to capture them in their best form and to trust that the photographer knows what they are doing. I think this opens up the conversation between a photographer and the subject they shoot. There is a line and unfortunately, some photographers cross this boundary. I have had experiences with people on set that have made me uncomfortable as a model, so I do my best to make sure all of my shoot environments are safe. 

Do you think that feel of romance, the ‘lovers’ connection and intimacy you’ve long depicted is something modern photography is coming to terms with now? How have your feelings changed in contrast to your previous book? 

I think there have been many incredible artists that have done this in the past, Robert Mapplethorpe, Ren Hang, Tom Bianchi and so many others. I think now more than ever, queer people are making work for queer people, and it is more visible due to social media. As an artist, I challenge myself with the medium and subjects I use, but when it came to working on a new project, I wanted something that was just simply a beautiful body of work that challenged the heteronormative works I grew up studying. The first book was much more personal and was an organic process where I didn't even know I was creating a book. The first book is something I am proud of for the story that it told and the people it touched, but this time I wanted to show my technical skills and creative direction, which is why I shifted from a point and shoot film camera to a medium format one.  

Would you market the book as a documentary exploration, then?  

Photography in its entirety is documenting a moment in time, whether staged or candid. It documents the feelings of summer and through a queer lens. There is a sense of voyeurism in a lot of my fashion and personal work, I think this adds a creepy but fascinating take. The sense of capturing an intimate moment, as if you are spying on someone.  

Here, the relationship between the subjects is, dare I say, less erotic and more empathetic. What does it represent to you?  

Everything I did, I wanted to be respectful of the subject. The subjects varied in sexuality so of course, I respected this when it came to planning the shoots. I know what it is like to be in front of the camera, so I knew how to ease the subject into it. I wanted to capture a nostalgic and tender emotion, rather than hypersexual. 

But seriously, was there a COVID-free nation? How was shooting?  

We are so extremely lucky. It was very normal, and we had zero restrictions for a small period. We had one or two small lockdowns where I had to postpone shoots but when we were out again, everything was normal.  

The fragility through which societal expectation define manhood is shocking, but unsurprising. It’s still a very toxic world, and thankfully representation is facing a reckoning thanks to social media, which shepherds these sorts of discussions into mainstream culture.  How challenging was this process for you in particular?  

It is a constant battle, and I am fortunate to be surrounded by a safe bubble with like-minded people. But it was challenging to try and get some of the subjects to allow themselves to be vulnerable and play without fear of being too ‘soft’. I had many conversations to be as transparent as possible about what I wanted to capture. There is a sense of brotherhood and how normal that is. It took a lot of trust, and I am grateful they allowed me to capture their gentle side. The subjects in this book are all great men that stand against that toxic mindset. 

Did you feel hopeful after compiling this book? 

I do feel hopeful. I am sad that the shooting part is over but excited to be able to share it with the world. I think now is an important time for artists of colour, and for allies to support them. I just want to reiterate that the book features straight men as well as bi and gay. I don't want to disrespect these men and have their sexuality mistaken. I am grateful for their participation and willingness.

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I’m Going to Miss You is available here.