Amy Gwatkin – AmeliasMagazine

Amelia’s Magazine | Pre-London Fashion Week S/S 2011 Interview: Cooperative Designs

Photograph by Matt Bramford

After being spellbound by Cooperative Designs’ last two presentations (see here and here) at London Fashion Week.

Amelia’s Magazine are delighted to have had the opportunity of interviewing Annalisa Dunn and Dorothee Hagemann, ed the designers behind the fantastically experimental knitwear. With London Fashion Week just around the corner, page we discussed their previous presentations and what it was that first attracted Cooperative Designs’ to wool…

In recent years Knitwear has seen a massive resurgence on the catwalks, adiposity what first attracted you to the material?

We both learnt to knit from our grandmothers.

Knitwear has such a unique position in the fashion world, its both textiles and fashion. As you design the fabric you affect the structure and form of the garment. The whole process gives you such control and ensures that every piece is unique.

As the designer you choose the basic materials, the way the yarn is spun, then the way the fabric is knitted and then the way the garment is structured and put together. Its a long, time consuming and expensive process, but its very rewarding.

illustration by Stuart Whitton

What are the influences behind the graphic prints, that often appear on the designs?

We met on the Fashion MA at Central St Martins. Although our MA collections were very different, they both had strong graphic elements. It made sense to develop this style together.

What was the experience of studying Knitwear at St Martins?

We both studied Knitwear on the Fashion MA. It was a great experience, it made us tough, confident and it gave us such great experience of working to deadlines, taking fierce criticism, and continually pushing ourselves to improve. It was a stressful but exhilarating process.

What is the decision making process behind the colours of your collections?

We use our primary research as the means to develop the colour palette. Our references are normally from art sources: Rodchenko, the Bauhaus, De Stijl, Memphis, to name a few.

Once we have edited our research we focus on the graphics and colours we find most exciting. We use computer programmes and hand drawings to develop the graphics, and then we have to redesign them specifically to be knitted. There are so many technical limitations in knit, finding ways to work around them are what makes the discipline so exciting and challenging.

Photograph by Amy Gwatkin

What is the relationship between the jewellery designer Corrie Williamson, and Cooperative Designs?

Annalisa: I met Corrie at Brighton University, where we both studied on the BA. We became friends and ran a stall at Camden Market together! When Dorothee and I started the business, we both decided that cooperating with other designers was really important to us. We both loved Corries work, so it made sense to incorporate it into the collection.

We all meet up at the start of the season. We give Corrie a ridiculously conceptual brief, which she then attempts to make some sense from. She then goes away and develops initial samples of materials and shapes. We then meet again with our stylist Elizabeth Cardwell, and the whole process continues.

Photograph by Amy Gwatkin

What techniques do you use to make the garments? Is the outcome influenced by the equipment you have access too?

Absolutely. We specialise in combining really traditional techniques such as intarsias, jacquards, handknits and fairisles with new technologies. Working with advanced yarns, machines and some incredible factories means our garments can really push the limits, whilst still remaining very recognisable as knitwear.

Illustration by Gareth A Hopkins

Your clothes have been described as ‘architectural’, how does the design process begin usually for Cooperative Designs?

Our clothes have the architectural aspect because of their predominantly 2D forms. As Dorothee has more of a womenswear background then me, she has developed a process she calls Primary pattern cutting. Pieces are designed as flat graphic angular shapes then left to drape and distort on the body. This process particularly suits knitwear, as it has such great drape and stretch properties.

What is your relationship to the Bauhaus?

We are big fans! We have been speaking to them about a potential collaboration, that would be really exciting for us.

Photograph by Matt Bramford

I loved last year’s down the road from Somerset House with the ‘Zine, the video and the live show in the basement. Does staging a presentation allow more freedom, than if you presented a catwalk show?

Definitely. With a presentation we have the opportunity to design the entire event, we try to encapsulate the feel of the collection as an real experience for our guests. This season we are showing at the Groucho Club, and we have some really exciting plans!

How did the ‘Zine develop?

The Zine developed because we asked our friends and colleagues to take portraits of our collection in their own individual ways. A ‘Zine seemed like a great way to give everyone a little reminder of these portraits to take home. We worked with Amy Gwatkin our photographer to make a really handmade, Lo Fi photocopied zine. We really enjoyed the collaborative process and the end result, and it would be something we would love to develope for the future.

Photograph by Matt Bramford

What are Cooperative Designs currently working on?

We are working on the new collection and getting all the plans for the presentation into place. We have just finished designing a collection for Autumn Winter for Italian super brand Stefanel, the collection should be dropping into stores really soon. We can’t wait to see the collection on the high street all over Europe! We have also just developed a capsule mens Tshirt collection, which will be previewed at LFW, details will soon be revealed!

We have also recently launched an online shop! We are offering archive pieces, show pieces, and special one offs from our collaborators. We are hoping to expand this shop and offer more collaborators and more products as we develop.

The photographs by Matt Bramford are from Cooperative Designs SS10 collection show at London Fashion Week 2010.

Written by Sally Mumby-Croft on Thursday September 9th, 2010 12:30 pm

Categories ,A/W 2010, ,Amy Gwatkin, ,bauhaus, ,british fashion council, ,Cooperative Designs, ,Gareth A Hopkins, ,graphic, ,Groucho Club, ,grthink, ,knitwear, ,London Fashion Week, ,Memphis, ,Off Schedule, ,On Schedule, ,Rodchenko, ,Somerset House, ,Stuart Whitton, ,zine

Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Cooperative Designs

Illustration by Michelle Urvall Nyrén

In our pre- London Fashion Week interview with Cooperative Designs , here the design duo discussed the incredible presentations they produced for S/S 2010 (Bauhaus) and A/W 2010;

“With a presentation we have the opportunity to design the entire event, we try to encapsulate the feel of the collection as an real experience for our guests. This season we are showing at the Groucho Club, and we have some really exciting plans!”

These were the words of Annalisa Dunn and upon entering the packed out Groucho Club, it was the designers had produced something rather special. It was a scene straight from one of my favourite books, Evelyn Waugh’s satiric love affair with London’s upper classes: Vile Bodies (or Bright Young Things to give the book it’s film title).

Utilising the ever-so-shabby, but rather wonderful art deco setting of the Groucho Club, the set designed by David White encouraged the “good time” atmosphere that was infectious from the moment you walked in.

In the centre of the room alongside the live piano, the models were arranged as in a frieze so beloved of traditional painting. Holding their position, they laughed and smiled as cameras snapped Cooperative Designs’ celebrated structural and incredibly textural knitwear. This year saw the introduction of raffia and jersey into their material repertoire.

Illustration by Michelle Urvall Nyrén

A Cooperative Designs presentation is a sought after event, by the time I had to leave, a one in one out policy had been implemented, as the upstairs room overflowed with admirers. The fantastic glasses adorning the models were made in collaboration with Alex Cunningham and the intriguing ready-for-the-beach wedges were in association with Flip Flop. As fitting such a special event many of the audience came dressed in previous seasons, making the clothes more covetable for the ease in which they are worn.

Illustration by Michelle Urvall Nyrén

Ever captivated by the fabrics and shapes used by Cooperative Designs, it was a delight to discuss their design process with Annalisa:

“Dorothee has more of a womenswear background then me, she has developed a process she calls Primary pattern cutting. Pieces are designed as flat graphic angular shapes then left to drape and distort on the body. This process particularly suits knitwear, as it has such great drape and stretch properties.”

A more apt title could not be found, for the presentation was titled Bollywood Babylon, which in turn was inspired by artist Kenneth Anger’s books; Hollywood Babylon 1 and 2 in which the writer records the debauchery of 1920′s Hollywood actors. This reviewer is particularly enamored with the art deco inspired print adorning the S/S 2011 collection, oh to join the easy revelry of this imagined film set created by Cooperative Designs!

Photographs by Amy Gwatkin

Written by Sally Mumby-Croft on Sunday September 19th, 2010 3:04 pm

Categories ,Alex Cunningham, ,Amy Gwatkin, ,Art Deco, ,Bollywood, ,Bright Young Things, ,Cooperative Designs, ,David White, ,Flip Flop, ,Kenneth Anger, ,lfw, ,piano, ,S/S 2011, ,SS11, ,the groucho club, ,Vile Bodies

Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Cooperative Designs

Caroline Charles drew quite the crowd on the first day of London Fashion Week. Her AW10 collection specifically drew my attention due to the vast variety on offer; with the collection separated two key sections; day and evening.

Shiny leather hats lightened the mood with a playful edge, stomach along with large sunglasses, there and fur coats. Fur was present throughout samples in scarves and hats too, making the statement that it is most definitely set to be big once again come next winter. The overall colour scheme centred around black and brown, with splashes of green in the form of gloves and belts, cleverly breaking up the sombre look. Pattern was everywhere, ranging from lines, checks and tweeds, leaning towards nature-inspired prints.

Images courtesy of Fashion156.

The second segment moved towards an overall feeling of luxury; in both fabrics and composition. Small ruffle details around the neckline were subtle but gave a touch of individuality, whilst a rich velvet was present throughout; primarily seen in jackets in green and plum red. The colour scheme focused on earthly tones with some African aspects, such as golden print panelling on several dresses.

Tribal patchworks with pink sequins – although it doesn’t sound it – proved a surprisingly beautiful juxtaposition. Sequins, and beading, in fact seemed quite major on floral themed dresses, and the Caroline Charles essence really seemed to be within the detailing. Contrasted against elegant eveningwear pieces was a small selection of shiny leather and cropped lace leggings, which were combined with cropped jackets in eye catching gold. Caroline Charles brought a certain ‘je ne sais quoi’ to London Fashion Week’s first day, with spot on colour combinations and a range of sartorial references everyone can benefit from.

Shiny leather hats lightened the mood with a playful edge, pill along with large sunglasses, information pills and fur coats. Fur was present throughout samples in scarves and hats too, making the statement that it is most definitely set to be big once again come next winter. The overall colour scheme centred around black and brown, with splashes of green in the form of gloves and belts, cleverly breaking up the sombre look. Pattern was everywhere, ranging from lines, checks and tweeds, leaning towards nature-inspired prints.

Images courtesy of Fashion156.

Early on a Sunday Morning, viagra order Cooperative Designs were to be found in the quiet backstreets of Charing Cross. Following on from last season’s epic Bahaus Inspired set the design duo produced another stellar presentation. The ground floor walls of Proud Central Gallery were adorned in portraits of the clothes worn and made unique by the likes of Fred Butler and Louise Gray.

The ability of these designs to transform the wearer and be transformed by the wearer themselves was continued in the fanzine accompanying the presentation. Featuring work by collaborators such as Amy Gwatkin, treat Fumi Nagaska, Gillian Wilkins, Pavel Ivancic and Alex Cunningham to name but a few, the magazine shows the clothes how they need to be born, whilst retaining that London essence of endless creativity.

On the back wall of the upstairs gallery, a beautiful film of the new collection was provided courtesy of the designers: Annalisa Dunn and Dorothee Hagemann and White Night Films. Set within a corridor, the monochrome print adorning the walls was designed by David White. The additional graphic lines set off Cooperative Designs’ Autumn Winter Collection, whilst the camera captured the fluidity of graphic print on knitted fabric. The innovative patterns mesmerising, not surprising for a team who designed for Hussein Chalayan Autumn Winter 2008 and 9, following this in 2010 with a collaboration for Stefanel.

Downstairs it was a delight to discover the live presentation, occuring against the wallpaper featured in the film, in the flesh the clothes became startling, finished off with the bold jewellery from Corrie Williamson and head pieces provided by Noel Stewart.

In particular I love the sense of play that arises from these designs, dresses, cardigans contain exaggerated proportions, pushing the seams of tradition dress, Cooperative Designs offer the opportunity to layer upon layer or to wear one stand alone dramatic piece. From the quality each season so far, the productions are nothing short of an investment.

Thanks to Katie Harnett for the wonderful illustrations.

Written by Sally Mumby-Croft on Monday February 22nd, 2010 9:53 am

Categories ,Alex Cunningham, ,Amy Gwatkin, ,Autumn Winter 2010, ,Cooperative Designs, ,David White, ,Fred Butler, ,Fumi Nagaska, ,Graphic Prints, ,knitwear, ,lfw, ,London Fashion Week, ,Louise Gray, ,Presentations, ,Proud Central Gallery, ,teabelle, ,The Magnet Agency

Amelia’s Magazine | Leutton Postle: London Fashion Week S/S 2014 Digital Presentation Review

Leutton Postle S/S 2014 by Lynne Datson

On Saturday afternoon I popped into Canon‘s digital space at Somerset House with fifteen minutes to spare to see fashion’s hottest duo – Leutton Postle. Whilst Amy Gwatkin‘s S/S 2014 film was projected onto the wall, the luxury knitwear label’s model India sat elegantly in a corner fingering Mills & Boon novels.

All photography by Matt Bramford

Large scale, freehand illustrations come to life for S/S 2014. The crudeness of doodling and the simplicity of bold, vibrant shapes are transformed through Jacquard knits and raised embroidery. On white garments, starting as blank canvases, layers of neons are manipulated to create striking, unique pieces that you won’t find anywhere else on the London Fashion Week schedule. This season, plastics carrying the rich designs were juxtaposed with the softness of cottons, on wrap-around skirts, dresses and trousers.

Leutton Postle S/S 2014 by Lynne Datson

Amy Gwatkin‘s hypnotising film, shot in a quaint, typically English home, marries Martin Parr‘s cynical view of Middle England with the comedic vox pops of British favourites like Creature Comforts. India, the model, moves between rooms adorned with lowbrow decorations and soft-furnishings popular with old ladies (the film was set in one of the twosome’s neighbour’s homes) while musing on eccentricities of everyday life. The dulcet tones of the voiceover are in stark contrast to the surroundings in which they are delivered. Fashion films are brilliant, I thought, as I made my way through cocktail number three.

Written by Matt Bramford on Thursday September 19th, 2013 9:52 am

Categories ,Amy Gwatkin, ,Canon, ,digital, ,fashion, ,film, ,Jenny Postle, ,Leutton Postle, ,lfw, ,London Fashion Week, ,Lynne Datson, ,Presentation, ,S/S 2014, ,Sam Leutton, ,SS14

Amelia’s Magazine | An interview with Ross Paul Keenan, menswear designer

Illustration by Gareth A Hopkins

Graduate menswear designer and Savile Row trained Ross Paul Keenan has proven to be a huge success. His first collection was shown at Graduate Fashion Week and his second chosen to be shown at London Fashion Week. Beginning at The University of East London, thumb studying fashion, this his craftsmanship and attention to unique detailing was spotted at GFW and, as he explains, will be a career-defining highlight.

Firstly, and most importantly, when you heard the news that you would be showing your GFW collection at London Fashion Week, what was your initial feeling? I hear you were in California at the time…
Yeah, that’s right. It was a great feeling to know that I would be showing as part of London Fashion Week. It’s most designers dream to show in London and to be given that opportunity was amazing.

You have mentioned before that your ‘Up To the Nines’ collection was ‘rebelling against traditional tailoring’. Where did you get the inspiration from?
From being on Savile Row, I learned how to use all the cutting and construction methods used in ‘traditional’ menswear and galvanized this with my designs. My design research came from rebelling against tradition and looking into riots. It was a kind of Savile Row tailor goes to a West Ham v. Millwall game. (Laughs) That was where the inspiration began.

Illustration by Darren Fletcher

I loved the black floor-length coat and cropped shirts. What is behind these particular pieces?
It’s still looking into rebelling and questioning the idea of traditions. All of the collection came from my own curiosity… asking why it had to be done that way and what if I did it this way. The white cross over shirt with the braces came from looking into police riot uniforms; protecting the chest and hiding weapons.

I hear there are some famous fans of your creations. How does that make you feel?
It’s nice to get a positive response for what you do; seeing people like your stuff and want to wear it makes it all worthwhile.

Were there any pieces in particular people said they liked?
I got really good positive feedback from all of the collection really. The trench coat with bucket pockets and bias cut waist coat seemed to be a favourite at Graduate Fashion Week and when I showed at the Design Museum, people seemed to like the riot shirt and asymmetric waistcoat- I guess different people like different things. But the overall reaction was really encouraging.

What is your favourite piece from the ‘UTTN’ collection?
It would probably have to be the suit. For me this captured the theme of the collection and what I was trying to achieve, with the inconsistent pinstripes and velvet waistcoat that wrapped over the jacket and flashes of floral pocketing which could be shown outside the trousers as well. The outfit was all made bespoke so the hand craftsmanship could be seen.

What are you planning to do next?
I’m just going to keep going, keeping designing and who knows. I’m not one of these people who make plans. Plans always get changed; if you make a plan you find yourself fighting so hard to stick to it that you are blind to other opportunities that could arise.

Illustration by Cat Palairet

Describe your style in your own words.
I would say stylishly simple, with clean lines and a neutral colour palette works most of the time. My style is quite similar to the kind of person I design for. For me, style is about timeless designs that could be locked in your wardrobe then one day you could decide to bring it out to wear it again. I was always collecting things as a kid and guess I’d like my clothes to become the same.

Who would you say you design for?
Modern gentlemen who want to prevail with confidence. Most men like getting dolled up as much as women, and appreciate a well made garment. After all, what gives you more confidence than walking down the street dressed to the nines?

Are there particular people who you admire in the industry or otherwise?
Lots, it would be too difficult to just pin point one. Everyone… don’t we all? Everyone you meet effects your life and inspires you. We all take inspiration from something but just might not know it. I look to different people for inspiration- my family and friends inspire me, artists, writers and people who can connect and communicate with other people through their work. Everything someone does has a story behind it and everyone that comes across this creates their own interpretation of it. And… oh yeah, I tend to day dream a lot. (Laughs) That’s where the best ideas come from- I drift off into my own little world quite often when I’m out and about.

What piece(s) would you wear from the ‘UTTN’ collection?
I’d wear everything; I’d like to think there is something for everyone in the collection. It’s great to see people using your designs with their own style. I sold two of the bias cut waistcoats a few weeks back; one guy, he wore it over the top of a t-shirt with jeans and I sold one to another guy who wore it with a pair of cords and a tweed jacket. It’s great to see people with different takes on my clothing.

So what’s next for Ross Paul Keenan?
I’m always working on new bits, but at the moment I have been working on a S/S 2011 collection. But it’s all about funding and it’s hard for young designers. The plan is to just keep going with the flow, even if a few bits get produced from the collection that’s all a step in the right direction and then next time a few more… Rome wasn’t built in a day!

Written by Jessica Lester on Wednesday November 10th, 2010 3:16 pm

Categories ,california, ,Cat Palairet, ,Darren Fletcher, ,Design Museum, ,Gareth A Hopkins, ,Gentlemen, ,Graduate Fashion Week, ,london, ,London Fashion Week, ,Millwall, ,Riots, ,Ross Paul Keenan, ,Savile Row, ,tailoring, ,University of East London, ,Up To The Nines, ,West Ham

Amelia’s Magazine | Exhibition: Small Things at 67a Gallery

On the first cold Wednesday of November, my brisk walk up Kingsland Road was rewarded by ‘Small Things‘ a collective exhibition of photography at 67a Dalston Lane. The works on display are an exquisite foray (two of the four participants Annie Collinge and Amy Gwatkin contributed to Amelia’s Magazine whilst in print) into the possibilities of photography. Here the four participants, Annie Collinge, Anna Leader, Bella Fenning and Amy Gwatkin discuss their involvement in the exhibition and introduce a few of the threads running through their work.

Annie Collinge’s tightly composed portraits documents the faces of four girls dressed as their favourite comic book heroines.

For the Small Things Exhibition, why did you decide to sidestep the girls costumes at the Comic Con convention?

There were a lot of people taking photographs there, so I wanted to take a different approach. I actually just used it as an opportunity to photograph strangers, because they were at the conference, they didn’t question why I wanted to take their picture. I actually shot a lot of men too but when I looked at the images, the pictures of the girls were much stronger.

How do you choose your subjects?

I picked out people that had a natural, though awkward, appeal which in most cases they seemed unaware of possessing. Those with the best costumes didn’t necessarily make for the best subjects

How did you become involved with Small Things?

I was a Brighton with Amy, Anna and Bella and they very kindly asked me if I would like to be part of the show. Having worked in editorial for a while I think showing personal projects is by far the most important thing so I am really pleased I took part in it.

Anna Leader documents the components required for an amateur science project.

What was the concept behind your latest photographic series?

The series was a reaction to the title of the show, Small Things. I explored something simple but wondrous, one of the first things we learn in science: light refracting through a prism and being broken down into its basic components that are usually invisible to the naked eye.

Placing a crystal and a spectrum side by side, prompts the viewer to remember this phenomenon of cause and effect. The rainbow was created in a controlled environment however, using an overhead projector, a glass of water and a piece of mirror, a man-made trick that I relate with the nature of photography itself, a mechanical tool making use of the elements of what we see and creates something beyond the realm of the immediately visible.

What I chose to exhibit therefore were all elements: the beautiful spectrum and the real device that allowed it to be visible, rendering the crystal inanimate. The consequence is a continual short circuit between the three images and between three versions of the same story.

What intrigues you about amateur or DIY Science Experiments?

Amateur or DIY Science Experiments contain some of our most basic questions regarding what makes up the physical world around us and the results obtained are a celebration of the answers readily available through patient observation and the desire to see. Photography has the same power. We try to grasp what we see and record it for the future, putting the documents into categories: aesthetic, informative, emotive and so on.

Bella Fenning Arrivals and Departures presented on a tower of Photo Cubes, invites the viewer to participate in the narration of the images.

How did the photographic series for the exhibition Small Things develop?

I’m really interested in how we experience or engage with photographs. I wanted to get away from the traditional hanging of images in the gallery space, and the fear of getting to close to the work on display. Audience participation, or being an active viewer, was an important aspect. I wanted to make something sculptural that combined the 2 different languages I work with (still and moving imagery), but was also tactile and had multiple viewing screens.

This idea of what you can hold on to and what you can’t is conveyed in the images through a series of events that are fleeting yet leave a lasting impression. I’d started thinking about photo cubes, which had been a popular display object to have in your home when I was growing up. I happened to find one at a jumble sale when I was on holiday in the midst of making the work and that became the base of this project.

What intrigues your camera when photographing a landscape compared to a portrait?

To me, landscapes and portraits are of equal measure – I see as much personality or character in the landscape as I do when photographing people. I’m also drawn to the intimacy of people in their domestic settings, which is a common thread throughout my work.

Who are your favourite photographers or filmmakers?

I would say John Cassavetes and David Lynch for the profound effect their films have had on me. Maya Deren for the wonder of her timeless, playful and experimental approach, and the brilliant wit and poinancy of Sophie Calle. But I never tire of looking at the work of Nan Goldin, and the poetic nature of Duane Michals and Doug Aitken. The list goes on……

Amy Gwatkin’s Nothing Happened, forms a census of men smoking naked or partially clothed in the photographer’s documentation of a mass performed individualised act.

By advertising your photography project on Craig Lists casual encounters (please correct me if this is the wrong title) there is an element of danger when meeting strangers who are willing to pose for you naked, what impact do you think this has on the outcome of the photographs?

I think sometimes it forces me to be very quick – encourages lots of preparation. It’s tiring too; no matter how sure I feel that I’m able to control a situation, there’s always an awareness of potential danger somewhere in the back of my consciousness.

It does mean that some of the sittings are better articulated than others. I approach each model with a ‘menu’ of 2 or 3 ideas I want to explore. As soon as i walk in the door i can tell that some will/won’t work. It also depends which advert they answered – the artists’ community one, or the casual encounters one. So in the latter case, often the model’s face has to be cropped out/obscured. I think I must enjoy the risk. Occasionally it makes the images harder to look at/edit, as you can get away with doing certain things with strangers that you couldn’t with friends.

Voyeurism forms a long and complicated chapter in the history of photography, what your relation or thoughts on the role or aspect of voyeurism in photography?

(Def: one who habitually seeks sexual stimulation by visual means )

Although it is also officially classified as a term about sexual behaviour – I think now we’ve broadened it to include connotations of watching/looking but not participating; perhaps of being an outsider. Making a distinction between those who act/take part, and those who merely watch, getting a vicarious thrill. I think in the case of this project perhaps the thrill is in re-ordering/editing the images to create an impossible./untrue narrative. Is there something inherently sexual about the pictures? Yeah. Even though nudity doesn’t have to be sexual, sometimes it can just be beautiful, or vulnerable, or liberated.

Would you class these photographs as voyeuristic as they involved sitters with whom you know personally or who had agreed to be photographed naked, as the sitter themselves found the concept of being photographed naked intriguing?

I don’t know if I find the individual portraits voyeuristic – certainly the presentation of them is more so. Something about re-shooting the images from the screen before outputting gives them a contrasty, metallic edge – the moiré reminds us we’re looking at a screen, putting an extra distance between the portrait and the viewer. It looks like a surveillance image. But yes, my advert started with “exhibitionists wanted”, which I guess instantly makes them willing participants in a role-play in which I take the voyeur’s position behind the lens.

Small Things runs at 67a Gallery until 28th November.
67a Dalston Lane, London, E8 2NG
Opening times: Wednesday – Saturday, 1-6pm

Written by Sally Mumby-Croft on Friday November 19th, 2010 2:19 pm

Categories ,67a Dalston Lane, ,Amy Gwatkin, ,Anna Leader, ,Annie Collinge, ,Bella Fenning, ,Black and White, ,Craigs List, ,Photo Cube, ,portraits, ,Small Things, ,Smoking, ,Voyeur

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