Shot in the Isle of Wight, the Alps and England’s south coast, rising photographer William Waterworth’s new solo exhibition pays homage to his favourite image-makers
’s photographs of his brother Zissou’s early aviation attempts. Each provides the basis for a story that Waterworth developed and shot over three separate journeys, all made in March this year.
First to the Isle of Wight to visit Cameron’s former home, then to the Alps for Mann’s tale set in a snowy sanatorium, before chasing Zissou’s primitive bi-plane along England’s south coast.in Waterworth’s process . He typically shuns the safety of a studio in favour of something wilder, where the unpredictability of the natural environment demands agile thought and spontaneity.
The result is beautifully constructed black and white photographs that appear like stills from a film , each powerful enough to summon a moment just passed or an action yet to unfold. Their strong emphasis on the natural elements adds to this sense of drama, with the Alpine photographs, in particular, evoking a timelessness reminiscent of Caspar David Friedrich, the godfather of Romantic landscape painting.Shown alongside these works is a book by Waterworth, made specifically for the show.
Elsewhere, the exhibition pays tribute to the collaborators with whom Waterworth executes his ambitious visions. Alongside the brilliant costume designs by Edie Ashley are film works by Joel Kerr that give added context to the images on the wall. Asked why their contributions form part of his exhibition, Waterworth’s reply is simple: “They have to be. They’re a part of why I started in the first place and their inspirations merge with your own, so you’re really following the same tracks.
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