Gary Day-Ellison: Images of 2011

As the year closed, I asked this question on my blog:·What image made the most impact on you in 2011?

It was a simple question, which I elected not to expand on. There were no rules, but reasons for the choice were invited.

Recent weeks have seen global analysis of 2011 from Jon Snow and hosts of many other socio-political commentators. Their reviews of the year are paint d with broad sweeps of authority across the vast canvas of human experience with context and erudition, not to mention research teams. As a  visual professional, I just wanted to get one image that struck the deepest chord in people.

The first entry was Gaddafi. Next, a simple, personal note. From the hand of fate falling upon a tyrant, the West felt compelled to accommodate – to the handshake of friendship between guest and host. These two set up a polarity that was to epitomise the responses. A woman pepper-sprayed at Occupy Seattle was followed by a reminder of former workplace friends: almost a game of leapfrog between world politics and the personal. The tsunami and its aftermath featured, and once again I reflect on the dignity of the Japanese people and amazed that such a massive reconstuction programme is receiving sparse coverage. And, again, major disaster was followed by the tragic loss of a man loved by many.

But not all were as clear cut. A photographer/musician picked something from the Grayson Perry exhibition, yet it was for its personal resonance.

And, enigmatically, there were pigs. An image of comfort to the contributor.

Curiously, there were fewer responses from others in the visual arts than I expected, and I was slightly disappointed that art students spurned the showcase opportunity. One from Plymouth University showed initiative, choosing a statement on consumer society and a favourite illustrator. The question (What image . . ?) was singular, but this student was not the only contributor who felt the need to express the opposing poles of their year. A traveller, with a keen eye, posted a selection of shots from a visit to India. A terrific dual contribution came in the form of a glimpse of a Ghaddafi poster in contrast to a poignant personal photographer of her ageing mother.

One cheeky monkey wanted a whole photo library selection!

The enduring impression overall was of the contrast between the big issues and the smaller private moments.

And, on Twitter, one question kept coming back to me. What is your choice? It is this. It was taken in 2004 by Simon Larbalestier. Over recent months, I have been engaged on a website I think Imperica followers will be interested to see, but I have to leave that to tease as there is client confidentiality to respect until the end of January. The point is that I was researching images for six key placements, and was reviewing Larbalestier's work as part of the process. He has great vision and although I used another of his shots for the job, this one haunted me.

I had not seen it before the summer of 2011, and its quiet impact profound for me. I chose it in part because it was involved in a project dear to my heart this year; I loved the print enough to buy it, which is rare. Mostly, I chose it for its simple beauty. It has a grace unencumbered by technology or wealth. It presents the simplicity of a single human step.

It feeds my soul with the notion of leaving a gentler footprint on our embattled planet. It is personal, but speaks to me of bigger issues.

Design Works is Gary's website, where you will also find his blog; he is @garydayellison on Twitter.