A lot of photographers choose a subject matter but Waplington does not see himself this way, believing he is interested in everything and therefore has an erratic way of working. Nick Waplington shoots the outside world, dealing with personal issues within his photography and issues he feels strongly about the world we currently live in, producing contemporary work. Although he would normally deal with his own issues and concerns, Mcqueen wanted him to shoot his ‘retrospective season’, a final documentary of his work.
Being an artist, things tend to intrigue. Waplington suggested that this makes us collection and want to keep, resulting in many storage issues.
Mcqueen was never secretive about his way of working within the studio but was worried about his legacy and so, wanted to expose the raw studio work to an audience. Waplington documented the moment when staff would prepare everything, models, pins, scissors, fabric and he would cut and pin onto the girl in a matter of minutes. After this hasty exchange, he would relax back and everyone would admire his work. This snapshot of time was important to Waplington as it was the artistic ‘moment of creation’ after hours work.
In the final creation, Nick Waplington collected the images and a variety of landfill pictures from east london, described as ‘theoretical pictures of the waste ground’. These were said to be evidencing commentary on destruction and “the book would not be the same without them”.
I love the raw feeling within the pictures. There is a sense of haste and motion that is hard to capture quite so dramatically. Within each shot there appears to be a new interesting composition, drawing the audience in. The dramatic nature of the clothing and the presentation of the models is really captured within the highly contrasted shots.
Alongside this, it is really refreshing to see behind the scenes of a fashion show. The process is documented from studio to backstage, capturing the highs and lows of the events.