This essay is in ‘Sandra George', the first catalogue on Black photographer Sandra George's (1957-2013) work. It is published on the occasion of the exhibition 'Sandra George: Start from the Level', (30 May - 27 September 2026), at City Art Centre, Edinburgh, curated by Stuart Fallon and Christian Noelle Charles.

Placing her social documentary photography against the political context of Thatcher's Britain, the essay argues that Sandra George dedicated herself to working purposefully with those groups whom Thatcher sought to demonise. Through analysing George's approach and portrayal of those oppressed by class, disability or being racially minoritised, the essay outlines that by her always showing people's agency, they were viewed through a lens of power and never as victims. In this way, her work avoided both tokensim and stereotype. This approach is widened in consideration to her photography relating to place and communities - whilst George shows the austerity of the period, such as poor housing stock, she equally documents self-organising communities staging gala days and free concerts.

Through a consideration of the subject matter George documented, including her exploration of Black identity through self-portraiture, 'Sandra George's Social Documentary Photography' gives an overview on her work, aims and approach.

The essay consolidates research undertaken by Brownrigg who curated the exhibition 'Sandra George' as part of Glasgow International Festival of Contemporary Art (5 Florence Street, 2024).