Metro is thrilled to sponsor ‘Joan of Arc Had Style’, the latest body of work by photographer Amelia Troubridge. Set against the backdrop of the museum’s current exhibition ‘Women Fashion Power’ at The Design Museum, Amelia’s book and art installation for which Metro produced twelve large fine art giclée prints will be on show in March.
Being both direct and complex ‘Joan Of Arc Had Style’, charts the journey of women and features a collection of images of some of the most outstanding and inspirational women Amelia has encountered in her celebrated career including Fay Weldon, Helen Mirren, Kim Cattrall, Anna Friel, Erin O’Connor, Cara Delavingne, Pam Hogg, Dita von Teese and Ruth Jones to name a few. The book and exhibition celebrates exceptional women from the spheres of politics, culture, business and fashion-forward thinkers who have had an impact on the world stage
Amelia comments: “I set out to celebrate individuality, courage and strength, but also, inevitably, to offer an honest portrayal of being those women, the struggle of their journeys. This book represents my personal viewpoint of seminal moments in all of our lives as women. We are all those women at one time or another.”
For more information about Women Fashion Power
‘Joan of Arc Had Style’ book by Trolley will be available soonDesign Museum, 28 Shad Thames, London SE1 2YD
Exhibition Dates: 12th – 15th March 2015
Private View: Thursday 12th March 7:00pm – 9:00pm
Opening times: Open daily 10:00am – 5:45pm; Last admission 17:15pm
Images © Amelia Troubridge
1. Dita Von Teese. London. 2008.
2. Susie Bick And Nick Cave. Brighton 2013.
3. Justine Picardie. Scotland 2012
1. Firstly congratulations on winning the award – it’s a highly prestigious competition, what does it mean to you?
Thank you! I never thought in a million years I would win, especially since my portraits were of dogs. Not only that, wet dogs. Winning this award validated my entire photographic exploration at a time where I had started questioning my work. It was a wonderful feeling seeing nine of my Wet Dog prints (Metro prints) lined-up on the wall at the Somerset House in London. It brought tears to my eyes and made me giggle all at once. I wanted to kiss the dogs, tell them it was going to be ok. They looked so alive and tormented.2. Since you won the award back in May 2014 what effect if any, do you think the prize has had on your career?
It gave me a strong sense of validation, I definitely feel more confident in my work since the award. I think it helped capture the interest of the industry. I think photography is still a very traditional industry and portraits of dogs are considered quite inferior. I have set myself the goal to revolutionise the way we photograph dogs, constantly pushing the boundaries, pulling dog portraits out of the “pet portrait” category and pushing it into a “fine art” world. Winning such a prestigious photography award was definitely a milestone in my personal photographic mission.
3. You won the award with your wonderful series of images entitled ‘Wet Dog’. Can you explain a little about that project and your recent work, which also primarily features dogs?
All my work, since 2010 has been exclusively about dogs (and their people. There are always two layers to my work: the fun, striking images, and the difficult reality behind them.
‘Wet Dog’ happened quickly, I wanted to photograph the dog grooming process and when I saw the expressions of the dogs in the tub I could not look away.
Then in summer 2014 I created the ‘Flower Power’ series featuring pit bulls wearing flower crowns. I was a victim of the negative media portrayal of the dogs and wanted to see for myself so I worked with shelter pit bulls, the abandoned, abused ones and it completely changed my relationship with them. It was a wonderful experience.
My latest series, ‘Prophecy’ features hairless dogs.
4. Is there a favourite breed of dog that you like to shoot?
I always say: my favourite photo hasn’t happened yet, because I am a perfectionist and eternally unsatisfied. Each time I photograph a breed, I enjoy everything about it but I am also constantly looking for the next challenge, the next muse.
5. Do you think there are any particular skills that are required to photograph dogs or animals?
Absolutely. The communication happens at so many different levels with animals. Sounds, eye contact, body language, even the vibe you give off on set. I always had a lot of empathy for people, animals and even things, so I think this comes quite naturally to me. But I had to learn a lot, and still learn more at every shoot. Every animal is different and comes with their own personality and challenges, their own trauma and memories, so each one requires a slightly different treatment. I consider it teamwork.
6. Have you always had an ambition to become a photographer and if so what do you think sparked that interest?
I requested my first camera when I was 10. I was a very lonely child and extremely creative. Photography was such a lonely art form, yet through portraiture I could be with people, without really being there, if that makes sense. At times I have wished I grew up at a time when digital cameras were as good and accessible as they are now. But when I look at my old films I feel nostalgia, a strong, physical, emotional connection to my images that I don’t think kids today have with their digital files.
It’s only since 2010 and since I found my muse (dogs) that photography has become that serious for me. Dogs found me. I did not know I had this in me. I realised my art could have meaning if I was using it to help save the lives of homeless pets (which I do with my Striking Paws project. I feel very fulfilled.
7. You have a very large following on Instagram. Do you shoot differently when you have an image in mind for your Instagram feed?
I actually never shoot “for” Instagram. I really don’t have time for it! Everything that is on my Instagram feed comes from my personal projects (tests, finished series, shelter shoots). I don’t even post everything I do! My Instagram feed is a selection of my personal favourites. Sophie’s Instagram .
8. Have you any interesting current projects or upcoming exhibitions you’d like to share with us?
My ‘Wet Dog’ book is coming out in the Autumn 2015 and I’ve just released my new series ‘Prophecy’ with hairless dogs and I am already working on the next series. I am also working on a massive awareness campaign for New York’s largest animal shelter. I hope to travel a few times this year, for some projects I have on stray dogs (I would love to go back to Dead Dog Beach in Puerto Rico) and I have a few potential exhibits in the making.
Photography is a difficult, slow, challenging career. You feel so isolated most of the time (except when you win an award!) and it’s difficult to know what the next step should be. With Wet Dog and the attention the series got in 2014, I was propelled into a world where everyone wants a piece of your work. I have been navigating it for months, trying to make the best decisions for my career. I dream of finding an agent/manager/mentor that could help me be the best I can be. All I want to do really is create new work.
9. Do you have any photography/career goals you’d like to achieve?
That’s a tricky question! My goals evolve constantly. At this precise moment, I would love to successful lead both a commercial and a fine art career. That would be an amazing achievement. Something most people say is impossible to achieve. But mostly, I just want to keep being inspired and challenged and keep producing work that pushes boundaries. I want to be proud of what I put out there.
Metro is delighted to have produced and installed large-scale vinyl prints for ‘Staging Disorder’ an exhibition of photography, sound and moving image at the University of the Arts, London.
The exhibition includes selected images from seven photographic series that were made independently of each other in the first decade of the new millennium and explore the contemporary representation of the real in relation to photography, architecture and modern conflict.
Curated by Christopher Stewart and Esther Teichmann the exhibition includes Adam Broomberg and Oliver Chanarin’s ‘Chicago’, Geissler/Sann’s ‘personal kill’, Claudio Hils’ ‘Red Land Blue Land’, An-My Lê’s ’29 Palms’, Richard Mosse’s ‘Airside’, Sarah Pickering’s ‘Public Order’ and Christopher Stewart’s ‘Kill House. Their work poses questions about the nature of truth as it manifests itself in current photographic practice
Within their images these artists portray mock domestic rooms, aircraft, houses, streets and whole fake towns designed as military and civilian architectural simulations and in preparation for real and imagined future conflicts across the globe.
The concept of staging disorder in relationship to the images collected here looks not to how the photographers have staged disordered reality themselves, but rather to how these artists have recognised and responded to a phenomenon of staging that already exists in the world.
Throughout the LCC Galleries the themes in Staging Disorder are extended by artists from the University of the Art’s Creative Research into Sound Arts Practice (CRiSAP) whos work includes sound, installation, and written texts.
For more information about the Staging Disorder exhibition
Also accompanying the exhibition is the book Staging Disorder
London College of Communication, Elephant & Castle London, SE1 6SB
Exhibition dates: 26th January – 12th March 2015
Opening times: Mon – Fri: 10:00am – 5:00pm; Sat:11:00am – 4:00pm; Sunday closed
Admission to the exhibition is free
1. Broomberg & Chanarin _Chicago 2, printed to Vinyl by Metro
2. Richard Mosse_ Airside 2
3. Christopher Stewart_ Kill House 2
1. Firstly congratulations on being awarded the Danny Wilson Memorial Professional Choice Award at this Brighton Photo Fringe 2014 (BPF) – what does it mean to you to have won?
Thank you! It was a great honour to have won, the calibre of work in the Brighton Photo Fringe was extremely high so it was a lovely surprise to be chosen.
2. Can you tell us a little about the work which you chose to enter for the competition?
Absolutely. The body of work is called The Meteorite Hunter. It’s focused around the idea of a meteorite hunter as someone who searches for and collects space rocks, playing with notions of reality and fiction. The work is mixed media in both the image making as well as how it’s presented.3. It’s early days but has the prize had any positive impact upon your career as yet?
The prize came at a good time as I had just finished my MA in Photography and it has helped to establish myself. It also gave me the confidence to continue to put the work out there.
4. One of the prizes is a year’s mentorship with Metro Imaging, what are you looking forward to learning or hoping to gain from the experts here at Metro?
I think the mentoring is actually the most exciting aspect of winning for me. The prospect of working with the printers to find alternative ways of producing my ideas is hugely inspiring. My work tends to use less traditional methods in the making and presenting of it and with the amount of unconventional techniques that are available at Metro, I’m excited to get started.
5. Have you always had an ambition to become a photographer and if so what do you think sparked that interest?
I’ve wanted to be a photographer since I was in college and since then it’s been clear that was what I was working towards. I’ve always worked in a more visual way and my interest in photography came through studying Graphic Design. From there it was a natural progression, the more I knew about photography, the more I wanted to know.
6. You have an interesting concept for your photography work, that being the relationship between reality and the imagined. What inspired or led you to these ideas?
Reality and Fiction is something that’s always interested me. I love the idea of Myths and Folklore as well as things like Science Fiction. The mixture of fiction and reality and the narrative that opens up when you’re not sure what it is your looking at is a very interesting notion to me. I make work off these ideas and use different subject matter to express those concepts.
7. Have you any interesting current projects or upcoming exhibitions you’d like to share with us?
I’m just starting working on my next project, which is based around Alchemy. I’ll be working alongside Metro to produce it, which is exciting. It’s early days yet so I can’t say too much more but I’m excited to get working on it.
8. Do you have any photography/career goals you’d like to achieve?
I have lots of things I would love to have happen! I enjoy making books so to have a collection of books that I’ve made sitting on my bookshelf would be amazing. To be honest, if I can continue to make work and I’m still doing that in 40 years time, I’ll be happy.
After the news story last year in which we featured Anita Corbin’s ‘First Women’ project, we are delighted to announce that we are now official sponsor, providing printing of exhibition materials for the project.
‘First Women’ is Anita Corbin’s on-going personal legacy project which will ultimately comprise of one hundred portraits capturing women in the UK who were ‘first’ in their field of achievement – she has just completed portrait number 64!
Anita has been a Metro customer for over 30 years and was keen to seek advice on the project from Metro’s Director Steve Macleod. Anita comments “Their (Metro’s) dedicated team of experts have a huge range of industry experience and they clearly love what they do, which is why the quality is so good – I can totally rely on them”
Steve Macleod also explained, “This is a unique opportunity to not only work with an established photographer, but to support a long standing customer, document and rediscover archive photographic material such as ‘Visible Girls’ that will inspire future generations”
As well as supporting the printing requirements of the project, we are supporting Anita with joint promotions and guidance to help raise awareness leading up to the launch of the 100 Portraits in 2018.
As an additional section to this project, an archival collection of photographs is being complied with the public’s involvement to form part of the exhibition – presenting women through the decades.