The photographer Sage Sohier's images of animals, taken mostly in New England between 1979 and 1993, showcase a variety of interspecies relationships.
,” a study of the anxious utopianism of enthusiasts or hobbyists: model makers and reënactors, the floridly tattooed and the gym-inflated. “Animals” overlaps with some of these earlier projects; Sohier found that her subjects were often more at ease with their pets at hand. Later, she discovered potential subjects at dog and cat shows or in small ads for litters, then spent a couple of hours at home with them while they revealed a telling variety of interspecies relationships.
John Berger once wrote that animals promise “a companionship offered to the loneliness of man as a species.” Although a gulf divides us, “our” animals look at us the way no human ever will. There are moments in Sohier’s book when the pathos in this relationship—one of trust, wonder, mammalian identification—is movingly present. A woman named Deborah sits in her living room with Snowy the llama, whom she used to bring on instructive visits to local schools.
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