Following the highly successful launch of Wonderful Things at The V&A, Michael Hoppen presents Wonderful People by Tim Walker – the first private gallery exhibition of work by the world-renowned photographer.
For this exclusive show, Walker and Hoppen have delved through the archives to uncover wonderful pictures of wonderful people in wonderful places – often doing wonderful things!
Hoppen Gallery have taken the opportunity to celebrate the photographer’s portraiture, exceptional at every turn: from conception, to curation, to finishing. Metro were once again delighted to work with the gallery to produce bespoke mounting and framing for Walker’s existing artworks on show throughout the exhibition, including large-scale, hand-stained frames.
Walker’s portraits bear testimony to his playful and imaginative vision, which conjures extraordinary worlds in which his subjects and friends are immersed. His sitters don’t merely sit for Tim, but are transformed by the roles they assume within his fantastical imaginative landscape.
Wonderful People opens late October and will run until early 2020, more info on exhibition and visiting times can be found here.
Exhibition Dates: 25 OCT 2019 – 25 JAN 2020
Michael Hoppen Gallery, London
1. Tim Walker: Wonderful People, installation image from Michael Hoppen Gallery, 2019.
2. Richard Quinn’s, floral chair and living mannequin. London, 2016 © Tim Walker studio, installation photo from Michael Hoppen Gallery, 2019.
As opposed to reverse mounting, acrylic mounting presents the prints bonded to the surface of an acrylic sheet, on top rather than on the back. This is an optional presentation for pop-up shows, however, due to the vulnerability to be damaged without any protection, we wouldn’t recommend it for other ways of exhibiting.
From market-place to movie-set, sex shop to a coffee bar, crime scene to cabaret, Soho has always been an unfolding and complex spectacle, central to the music, fashion, design, film and sex industries alongside being a vibrant hub for LGBTQ+ communities. It has also, across the centuries, been home to a variety of immigrant communities from the French Huguenots, through Italian, Maltese, Chinese, Hungarian, Jewish and Bengali cultures. Yet Soho has always been a site of resistance.
Shot in Soho is an original exhibition presented at The Photographers’ Gallery celebrating Soho’s diverse culture, community and creativity at a time when the area is facing radical transformation. The exhibition – curated by Julian Rodriguez and Karen McQuaid – responds to the imminent completion of Cross Rail in Autumn 2019, which will make the area a prime target for development and threatens its existence as a place of unorthodoxy and independence.
Shot in Soho offers a timely opportunity to see the area through the lens of renowned photographers, such as William Klein, through a rare presentation of his candid 1980s Sunday Times commissioned photo essay; Anders Petersen, through a selection of his 2011 Soho series, which capture the neighbourhood with his trademark lyrical melancholy; Corinne Day, whose images take us off the streets into her Brewer St. home where some of her most iconic editorial and personal work was shot; as well as work from less familiar figures such as Times photographer Kelvin Brodie’s night-time forays with police teams, John Goldblatt’s strip club dressing room scenes and Clancy Gebler Davies’s work in The Colony Room Club.
Metro Imaging were delighted to work with The Photographers Gallery again and produce bespoke framing and mounting for some of these existing photographs. The exhibition also features a commission from artist Daragh Soden who will present a new body of work focusing on Soho’s reputation as a place of connection, performance and the pursuit of love. Metro worked with Soden and the curators to create a selection of digital Duratran prints finished in bespoke wooden lightboxes to display this contemporary set of images.
The exhibition also offers a range of ephemera that further draws on the history, myths and characters of Soho, offering additional context for this timely presentation, which aims to commemorate, protect and champion the spirit of this fabled quarter. Shot in Soho, hung in The Photographers’ Gallery.
18 OCT 2019 – 9 FEB 2020
The Photographers Gallery, Soho, London.
See more info on entry and visiting times here.
1. Men hid their faces / 69 Sauna & Massage © William Klein Courtesy of the artist.
2. Kelvin Brodie for The Sunday Times Magazine, 1968 © Times Newspapers Ltd.
3. Daragh Soden Looking for Love, 2019 © Daragh Soden Courtesy of the artist.
Breaking Barriers Charity annual exhibition returns this year with a collection of portraits and interviews featuring Breaking Barriers members, all of them refugees or from a refugee background.
This series of photographs tells the extraordinary stories of the refugees’ lives, journeys and personal dreams, through the everyday objects that reflect their experiences. All of the people featured chose an item of importance which represents their sense of belonging in a new community and reflects their values and hopes for the future. From birds symbolising freedom to medals in recognition of dedication, each piece is different in the same way they are.
Curated by Juliet Stevenson, Breaking Barriers Ambassador, the exhibition features 10 people who have been supported through the charity’s Employment Services. A collective of photographers and journalists worked with the clients to portray them as they want to be seen, as individuals with different perspectives, responding to the refugee coverage in mainstream media which lacks this narrative.
Metro Imaging are happy to be supporting this wonderful show for a consecutive year, producing beautiful images printed on C-type professional photographic paper and low tack self-adhesive Vinyl for the exhibition.
Tuesday 29th October – Saturday 2nd November
Your donation can make a huge difference to reach even more refugees in London. HOW YOU CAN HELP?
In addition to each winner being awarded an exhibition with the Free Range Solo Shows 19/20 – supported by Metro Imaging – both artists receive an annual mentorship and professional guidance in the lead up to their exhibitions, plus £1000 credit for services at our production lab.
We had the opportunity to meet with Angela and ask her to tell us more about her practise as well as her winning photography project.
1. Firstly, congratulations on winning the FREE RANGE Solo Award for Week II, what does this award mean to you?
Thank you very much! I am extremely honoured and excited about winning this award, especially after seeing the amount of amazing works exhibited at this year’s Free Range Show. There was such a great range of excellent photographers and inspiring projects exhibited. I really did not expect to win. And to be at the position of preparing for a solo exhibition at the Truman’s Brewery is more than I could have imagined achieving at this stage of my career. I am very grateful for this opportunity.
It is a very significant and I guess difficult moment of changing from full-time education to being a self-sufficient artist in the professional world. So although the cash bursary is an amazing reward, I am even more grateful for the professional mentorship with Metro Imaging and Shutterhub this award entails.
2. You won your award with the work ‘Fragments of a River’, an ongoing project created for your degree show, can you give us some further insight into this body of work?
‘Fragments of a River’ is a series of sculptural still life photographs of discarded objects found along the river Thames. It is an anthropological study and investigates the objects’ lost narratives.
After visiting the river shore for the very first time last year, I was captivated by the river’s ambiguity; its constant shift between the dangerous stream and calm sanctuary with the cycle of the tide. I got interested in the idea of the landscape speaking of the humans it inhabits and started photographing sculptural compositions in order to make sense of my findings.
All images of the project are shot at the river shore itself, with the objects I find on the day. The sculptures are photographed in a moment of balance. The resulting tension of an anticipated collapse speaks to the temporary nature of my compositions and the mentioned ambiguity of the river. With a rising tide, the sculptures are submerged in the river again and the cycle starts anew.
3. How would you describe your photographic style and process, what inspires you to make photographs?
I am not sure I can commit to a specific style. I like to explore new things and set myself new challenges, although there are reoccurring themes in my work. Previously I had worked on projects exploring identity and the notion of home, which were very much inspired by my own upbringing and personal story. I have always been interested in the symbiotic relationship between human and landscape. So with ‘Fragments of a River’ I wanted to explore this connection from a different perspective.
Although my project does not include any people, humans are a central subject to it. It investigates their traces within a landscape. And it is this specific influential relationship between the two that I feel passionate about.
4. Part of the FREE RANGE prize is a professional mentorship with Metro Imaging, in the run-up to the solo exhibition, what are you looking forward to learning or hoping to gain from the experts here at Metro?
I’m very much looking forward to working with the whole team at Metro Imaging. I feel like the mentorship will be a great opportunity to expand on areas which maybe weren’t covered as much during my studies.
I’m looking forward to the lab session to learn more about professional printing and framing. I am also eager to learn about promoting my work and expending on my curatorial skills while working towards the solo show.
IMAGES © Angela Blažanović.
In addition to each winner being awarded an exhibition with the Free Range Solo Shows 19/20 – supported by Metro Imaging, both artists receive an annual mentorship and professional guidance in the lead up to their exhibitions, plus £1000 credit for services at our production lab.
We had the opportunity to chat with the young artist and discuss her practise as well as her winning photography project.
Firstly, congratulations on winning the FREE RANGE Solo Award for Week II, what does this award mean to you?
I totally wasn’t expecting to win the award, my approach isn’t very fashionable. I’m too headstrong and outward (some people would call rude) to make soft, introspective photographic poetry that judges like to pick!
However, that gave me the practice of fighting for my work. Everything in it is justified, cos I know it’s more likely to be scrutinised and dismissed. I could write an essay about the smallest aspect of any individual photo, and in order to do that, you need to be incredibly passionate about your own work. And passion outlasts fashion every time.
Although with that independent mindset, I get a lot of ‘can’t wait to see what you do next,’ from industry professionals, and it’s, like, ‘why not help me?’ So this is what this award finally is!!
You won your award with the work ‘People Buy People, an on-going project created for your degree show, can you give us some further insight into this body of work?
People Buy People is a social documentary project on business professionals, their aspirations and their motivations. I come from Dorset originally and had never seen a businessman before moving to London, for uni. Suddenly, on the tube, I was surrounded by thousands. But what could all these people possibly do all day?!
In order to follow these people off the tube and dive into their professional lives, I searched Eventbrite and Facebook Events for those ‘how to become a millionaire’ workshops, exclusive networking events, even oil conferences. In these places, I found the ones most devoted to evolving themselves to fit the 9-5 lifestyle the most, the ones desperate to succeed at it.
This project is not a negative one, however – or at least in the way you’d expect. I didn’t want to frame these people as ‘money-hungry Tories’ like most artists would, but just ordinary individuals, who just want to better themselves. Everyone wants that. Some people go travel, go all spirituals, or even make art, others see success in being able to reliably ‘fit in’, in finding a consistent answer on what to do with their lives – it’s a freedom from freedom. 50 years ago, these people would have been farm labourers, or machinists in factories, today they’re middle-management or sell photocopiers over the phone, they push imaginary numbers on a screen only affecting other imaginary numbers on someone else’s screen.
It is in this way, that I wanted to look at the white-collar worker as its own subculture! The way subcultures are recorded are very strange in their effect. In one way they celebrate the group but instantly serves it with a checklist of visual codes, restricting it from ever-evolving and growing again. Once a subculture is recorded, it is historicised, marking it merely as a small, temporary interruption on the mainstream that we have in our today. But then the cycle just repeats over. I wanted to photograph the business professional as a subculture to really give everyone a sense of perspective. You’re just as temporary as the last thing.
How would you describe your photographic style and process, what inspires you to make photographs?
I think my style is very historical. It’s a record of me as the Voyeur. My favourite thing to do is create little throwaway projects at the moment. I spent the weekend at a comic con recently and took photos of nothing but walls. That was the thing I saw the most, in the organisers’ attempt to create a faux exclusivity, so that’s what I photographed. I’m also doing a project on public loos because I want to see more of them, rather than those horrible phalic urinals. All of my photos are a register of what’s around us now.
My favourite photographers are August Sander, Christopher Bethell, and Alison Jackson – someone who records history, someone who click baits it, and someone who tells us what it means.
Part of the FREE RANGE prize is a professional mentorship with Metro Imaging, in the run-up to the solo exhibition, what are you looking forward to learning or hoping to gain from the experts here at Metro?
First of all, my laptop screen is currently pretty much a weird horrible blue/green, meaning I can’t retouch any photos on it at the moment, so I booked Metro to fix that straight away!! I’ve been thinking about it since the award ceremony!!
For my printing, I often take a different approach to what people would call ‘quality’. In Dorset, the only art education I had was from thrown away colour supplements and postcards, and so I always aim to ‘pay back’ the idea, if I can, and print in a very vernacular way. This doesn’t lend itself to Metro’s very technically impressive ‘big boy’ printers – they’re too nice for me! Maybe I’ll break one and print on that?
The big plus of having Metro is their industry respect though. I have no qualms in running up to all-powerful arty people or sending them a few bugging emails, but it helps if you have those flagship industry icons on your side already.
With that backing, I can go about being a potential prodigal photographer knocking on their door, rather than just young and desperate. Throughout Free Range, I emailed anyone who worked with VICE probably multiple times a day, as that’s one of my ultimate goals. There’s a Lily Allen song that goes, ‘when I’m a big boy, I’m gonna write for VICE,’ which is definitely an insult, but that’s what makes it such a good line; all the best insults are true. I’m hoping that with Metro I can finally break into that coveted VICE Vatican, as well as many more potential leads for my photographic career.
And finally, what can visitors expect from your exhibition?
My solo exhibition is expanding on the idea of experiencing the 9-5 office job, as a gimmick. In Camden, you can dress up and pretend to be a Punk, borrow a fancy dress Mohawk, and have a picture taken. However, in a place like Brick Lane, the alternative is normal, and your 9-5 is the attraction.
My PV is going to be more like a dodgy office Xmas party, and on the rest of the opening days, people can grab a desk, and start getting to work, buy some dodgy Facebook ads, and call themselves an entrepreneur! More importantly, I expect to see them in my office, first thing in the morning…
IMAGES © Jennifer Forward-Hayter.
Why do we play? How important is it for all of us, young or old? What does it mean to play well?
The Wellcome Collection brings an interactive and playful exhibition this autumn. Play Well examines the importance of play in childhood and the impactful role it has on both young and adults and across society at large. It explores the joyful instinct to play as well as the significance of play in developing social bonds, emotional resilience and physical well-being.
Split into three different sections – Nature/Nurture, Toys Like Us, and Rules and Risk – the exhibition is a celebration of play as a transformative, therapeutic tool. Through toys, games, artworks and design from the mid-1800s, it investigates how we played as children and how children play in this day and age, from playing in the street to indoors connect to a computer.
Metro Imaging had a great experience working closely with the gallery for the production of multiple C-type Photographic Prints mounted to Dibond for various artists, as well as working directly with longstanding client, photographer Mark Neville, on the manufacture of Bespoke Spray Finish Frames for his works on show.
24 October 2019—8 March 2020
Wellcome Collection – Gallery 1, level 0