At just 26 years old, Charlie Calder-Potts became the youngest female war artist commissioned by the British Army, documenting life in Afghanistan during a turbulent period. Her journey took her from London to Camp Bastion in March 2013, where she sought to capture the essence of military life beyond the battlefield.
From Artist to War Artist
Calder-Potts developed a fascination with the Middle East after traveling through Lebanon and Syria in her twenties. Eager to explore Afghanistan, she reached out to various Army regiments, seeking to embed herself with British troops as a war artist. She aimed to document the experiences of those living through conflict, using a variety of artistic mediums.
“I didn’t know anyone in the army at the time and had never experienced war,” Calder-Potts explained. “At 26, I was young enough to be relatively ignorant and probably a bit braver than I would be now.” Her determination paid off when she received an invitation from the 9th/12th Royal Lancers to join them on a tour. Although excited, she felt apprehensive about the mission.
When she shared her plans with her parents, they were not entirely supportive but understood her adventurous spirit. With a background of living in various places and siblings who also embraced risk-taking, they ultimately encouraged her pursuit of the role.
Life at Camp Bastion
Following a training camp in Dorset, Calder-Potts took her first ride in a Chinook helicopter and flew to Camp Bastion, the main hub for British operations in Afghanistan. “It was very surreal—the camp was the size of Reading, and Take That had performed there the week before I went,” she recalled. The camp featured amenities like a Costa Coffee, but the surrounding barbed wire created a prison-like atmosphere.
Upon her arrival, the British government announced troop withdrawals, leading to a mix of danger and boredom among soldiers. “There was a sense of danger, but also so much boredom,” she noted. After completing mine detection training, she ventured to various bases, including Kabul and the mountainous regions beyond. These experiences allowed her to appreciate Afghanistan’s beauty despite the ongoing conflict.
Calder-Potts captured striking images, including one of a man holding helium balloons that soared over the landscape. “It provided a slight feeling of hope, which we know now in hindsight was overly optimistic,” she admitted. This image, taken from behind barbed wire, highlighted the contrast of normalcy amidst chaos. “You’re always reminded that these are normal people trying to live their lives,” she said.
In addition to photography, Calder-Potts salvaged metal from army vehicles and ammunition casings, etching photographs into them to create a unique blend of art and history. The oppressive heat made her work challenging, as she layered thin clothing to cope with the conditions while wearing heavy body armor.
In the evenings, she would sleep in the women’s quarters of tents, often alone. At one base, she found herself the only woman among approximately 100 men. Despite the overwhelming male presence, she felt well-looked after, forming friendships with soldiers who were eager to share their experiences and express their longing for loved ones back home.
Encounters with Danger
Calder-Potts’ most frightening experience occurred as she prepared to return home. While traveling in a four-by-four from Kabul back to Helmand, a tense silence enveloped the vehicle. “I could tell something was up, but I didn’t know what was going on,” she recalled. Upon reaching the airport, she learned that Taliban radio had intercepted plans for a suicide bomber targeting their convoy.
“That journey was only half an hour, but it felt like forever,” she described. Although she had been informed of potential dangers before her deployment, she was grateful for her ignorance during the ordeal.
Although Calder-Potts completed only one tour as a war artist, her experiences shaped a career dedicated to documenting conflict zones in places like Iraq and Syria. She has since collaborated with organizations such as War Child and participated in projects that highlight the struggles of those affected by war.
Today, her life has shifted dramatically. Now a mother of two, Calder-Potts spends more time foraging in the woodlands of Herefordshire than traveling to conflict zones. She has recently focused on creating pigments from natural materials, inspired by ancient artistic techniques. Her current project involves a reinterpretation of the Tacuinum sanitatis, an 11th-century Arabic manuscript on health and well-being.
Calder-Potts reflects on her journey, emphasizing a deep appreciation for the resilience of those she encountered in Afghanistan. “You can never understand a situation until you’re in it,” she noted, recognizing the sacrifices made by soldiers and civilians alike. Her work continues to bridge the gap between art and human experience, reminding us of the universal desire for safety and connection.
For those interested in supporting children affected by conflict, contributions can be made to War Child at warchild.org.uk.
