This ongoing series of photographs started with a question.
"Can I make a kind of fucked up social documentary photography series about England using dioramas made up of images sourced from the net so I can stay at home and watch the telly at the same time?"
Monday, 28 September 2015
Sunday, 20 September 2015
Thursday, 20 August 2015
Sunday, 26 July 2015
Thursday, 23 July 2015
Sunday, 5 July 2015
Friday, 26 June 2015
Sunday, 7 June 2015
Monday, 25 May 2015
Friday, 8 May 2015
Monday, 4 May 2015
Sunday, 19 April 2015
Friday, 3 April 2015
Saturday, 28 March 2015
Sunday, 22 March 2015
Tuesday, 10 March 2015
Sunday, 8 March 2015
Sunday, 1 March 2015
It's about time Manchester Photography did a post about a Manchester photographer. It's Ed Watts I'm referring to. I'm sure a lot of you know him. He's been organising photo related stuff at The Whitworth Art Gallery, Manchester and further afield with gems such as The Alternative Camera Club, Roast Beef and such like for ages.
Here though I'm interested in what he's been up to with his own photography. The above picture, that even the most photographically illiterate provincial council art gallery curator should spot is William Eggleston's 1973 piccy Greenwood Mississippi.
Watts, and I'm going to call him that rather than Ed so that I sound more impartial and professional, has been thinking about this photo for years. I can testify that he has wanted to recreate that space for donkey's. Well thanks to the folk at this years FORMAT Festival he's going to build that ceiling as a life size installation/sculpture and invite others to photograph this iconic scene. I wonder if that room was ever photographed by anyone else? It's so famous a ceiling but it's the only photo I know of the place which is unusual because as we all know photographers love to photograph the same thing over and over again. Just look at that canal/river in Hackney, I'm sick of the fucking sight of it.
Anyway Ed, I mean Watts is going to give all of us photographers the chance to photograph that red ceiling again and again and again and we can flood the internet with shit loads of versions of it so when we next type in Greenwood, Mississippi 1973 we will get the same but different.
As I said in the last post too many photographers call themselves photo artists without doing anything more than point and shoot. Watts is screwing that notion up with this piece.
Saturday, 21 February 2015
There's a lot of the American road trip references in Greg's work. It's a big American thing isn't it the road trip? The pull of the open road especially for American photographers. It is for them what the seaside is for English photographers and what pissed mentally ill people are for Eastern European photographers.
It's not a celebration of all things American with Greg's photos though. There's a cynicism running through his work that I love all the more because it's so hard to normally find in American photography. Even when American photographers are showing the under belly of the country I always seem to be left with a sickly feeling in my mouth like I've eat to much of that maple syrup shit they love. It's a kind of romanticism especially for the landscape that they just can't seem to resist.
Greg resists and represents The Great American Road Trip with bottles of piss. Brilliant. I hope America gets his work, if not he should move here to the UK because we'll love it.