Reflecting on Freedom: How Woolwich Library is preserving the living history and local legacies of our veterans

This month, photographer Seema Khalique sits down with Tadhg Devlin, Open Eye Gallery’s Head of Social Practice, to explore her recent collaboration with members of the Woolwich Library. Their discussion centres on the “Our Freedom: Then and Now” programme – a nationwide initiative launched in the wake of the 80th anniversary of VE/VJ Day to examine what liberty truly means to local communities. 

TD: How did you approach the concept of “Freedom” a word that can feel quite abstract and make it tangible for the Woolwich community?

SK: Woolwich is home to a diverse community, and my starting point was to understand how individuals connected with the idea of freedom on a personal level. Historically, Woolwich was heavily targeted during the Second World War due to the presence of the Royal Arsenal, resulting in significant destruction to homes and infrastructure, as well as considerable loss of life.

This historical context strongly shaped participants’ interpretations of freedom. For many, the concept was intrinsically linked to memories of wartime destruction and resilience. In addition, the current political climate further informed their perspectives, reinforcing how both personal and collective freedoms are experienced and valued in relation to lived experience.

TD: Can you talk about the process of working with the participants?

SK: The participants were veterans who regularly attend the SE London Veteran Breakfast Club. While the organisers (Woolwich Library) had established relationships with them, I had not met them prior to the day of the shoot. Given the personal and sensitive nature of the subject matter, I was initially concerned about building rapport in a limited timeframe.

To address this, I spent dedicated one-to-one time with each participant on the day, engaging them in conversation about their experiences and their understanding of freedom before photographing them. These conversations were central to establishing trust and ensuring their voices were genuinely reflected in the work.

Each portrait was accompanied by a participant’s own words describing what freedom meant to them. Due to time constraints on the day, I followed up with phone conversations after the event to gather these reflections more thoughtfully.

These ongoing interactions were instrumental in making participants feel heard and valued. Over time, I developed strong relationships with them, and since the completion of the project, they have continued to include me in their social gatherings which I have attended.

TD: Were there any remarkable conversations or quotes from participants that you would like to share?

“Freedom is more than a word; it’s a gift earned through sacrifice. As a soldier I learned it’s never free, it’s paid for in courage and commitment. Freedom means living without fear, speaking openly and believing without persecution.”

Terry Hall

“Freedom for me is every day I can get up and make my own decisions to what I want to do.”

Anthony John Smith

“We take freedom for granted, until we compare to those who have been oppressed, that’s when we realise just how free we really are.” 

David Anthony Ball

“Freedom for me is having ability to have free speech.”

“Freedom for me is having the capability to speak out.”

David William Salt

“Freedom to me is for others to treat me, the way I treat them.”

Robert David Alan Luster 

“Britain fought in WW2 for the principle of freedom.  It was the only nation to do this that was not directly attacked beforehand.  As a veteran of HM Forces, this is what freedom means to me, then and now.”

Kevin Lee Harris 

TD: Can you describe how you worked with individuals to ensure they were co-authors of this work rather than just subjects?

SK: From the outset, I clearly communicated the purpose and scope of the project so participants fully understood how their contributions would be used. Before photographing, I ensured they felt comfortable with the setup, making adjustments where necessary, particularly given the busy environment we were working in.

Participants were actively involved not only in the making of their portraits but also in selecting the quotes that would accompany their images, ensuring these accurately reflected their perspectives.

After editing, I shared the final portraits and accompanying text with each participant for approval. This step was essential in maintaining transparency and ensuring they were satisfied with how their image and voice were being represented.

TD: During your time on this project, did you encounter any specific stories or artefacts from the Second World War that shifted your own perspective on what “freedom” looks like in 2026?

SK: Alongside the portrait series, I created a collage using archival materials sourced from the Greenwich Heritage Archive. These materials documented the damage and disruption caused by Second World War bombings.

Having grown up in Greenwich, it was a powerful and, at times, surreal experience to engage with these records. They offered a vivid insight into the realities faced by previous generations and highlighted how the impact of war continues to resonate today. This historical perspective deepened my understanding of freedom, particularly in relation to ongoing global conflicts and their human consequences.

TD: Any other advice you want to share for a photographer starting out in socially engaged photography?

SK: In socially engaged practice, building trust and forming genuine relationships with participants is fundamental. Taking the time to connect on a human level allows for a more collaborative process, where participants feel respected, valued, and empowered.

When this foundation is established, the resulting work becomes more authentic and honest, as it reflects a shared process rather than a purely observational one.

TD: In terms of the actual images, how did you balance the historical context of the 80th anniversary with the vitality and hope often associated with the word ‘Freedom’?

SK: The 80th anniversary carries a weight of history sacrifice, conflict, unfinished struggles but ‘freedom’ is also a living, evolving idea. So, I approached the work as a conversation between those two realities rather than a contrast.

Visually, I tried to anchor the work in traces of history in both the portraits and the collage. The participants placed equal emphasis on contemporary life.

TD: What was the most surprising thing you learned from working with such a large group of photographers, and did that influence your own creative direction?

SK: The most surprising aspect of working with such a large group of photographers was learning about the diversity of perspectives. Even when responding to similar themes, each artist approached the subject in a completely different way, shaped by the events held at their allocated venues.

Working alongside others created a space for dialogue – being able to soundboard ideas, talk through challenges, and learn from others. It pushed me to reflect more critically on my own decisions and assumptions.

TD: Has your own practice changed in any way since working on the commission? Or has your idea of freedom changed since working on the commission?

SK: One of the main things I gained from this project was working alongside other artists. It opened my understanding of how broadly a brief can be interpreted. Seeing the variety of approaches, and how artists brought in different mediums and perspectives. 

It made me more aware of the possibilities within my own practice, encouraging me to be more experimental and open in how I respond to a theme.

TD: Have you made any new connections since working on it?

SK: I’ve developed a strong relationship with the Greenwich Heritage Archive, which has been incredibly valuable in terms of accessing and engaging with local histories.

I’ve also built a trusting relationship with the participants involved in the work. That sense of trust was essential not just for creating the images, but for shaping a more collaborative and respectful process. Those connections have had a lasting impact and will continue to influence how I approach future projects.