I am very much enjoying the work of the photographer David George (George 2020). Much of his practice is in urban areas (particularly London) after dark and it really strikes a chord with me. It is not only that the urban landscapes of parts of Hackney or Peckham are similar to parts of Oxford but that I like George’s whole approach. He is not afraid of darkness and extensive shadows if the composition is there. He uses only natural light and, so far as I can tell, an ordinary digital camera. He has a gentle, unfussy approach and concentrates on what he sees on his night-time forays rather than on trying to send a portentous State of the Nation message. This is all the kind of territory in which I feel at ease. See Figure 1.
There is plenty for me to learn here.
First, George brings clarity to his practice in the form of short but direct statements of his intent for each of his projects (George 2020). There is the uncanny (The Gingerbread House), the Pastoral tradition (Backwater, Hackney by Night), the Sublime (Enclosures, Badlands and Borders), the Romantic tradition (Albedo) or childhood (Shadows of Doubt). Each project is informed by the artistic and literary traditions behind the theme, and by the work of other photographers in the field. It is impressively simple and clear, but also researched.
Second, George is very aware of time and change, that he is often photographing old industrial landscapes on the cusp of change in an increasingly post-industrial West. There is affection but no judgement in this understanding, just observation of a never-ending process: ‘These new landscapes have their own charm and nuances, replacing the old pastoral vistas; all created by man’s intervention in the environment for eons, with new interventions and the creation of a new era in English Landscape’ (George 2020). George cites New Topographics, the Bechers and Joel Sternfeld among others as influences – all influences I need to know more about. I suspect that the idea of change, in the way George describes it, needs to inform my own practice.
Third, George is not afraid of creating atmosphere, an air of mystery, perhaps introducing the poetic. I much appreciate finding this in his images because it is very easy to be cowed by the strictures of postmodernism – which can often seem too cerebral and basically joyless – and forget that both photographer and viewer respond emotionally to the image. There is something visceral in a really effective image, and if one is not enjoying the making then what is the point. For me, this particularly applies to dealing with dark areas using only available light. In George’s words: ‘ … the shadow offers the viewer imaginative access to the image and therefore ownership of the narrative within the photograph, the viewer becoming an active storyteller rather than a passive observer, which is a much more interesting way to interact with the photographic image’ (Keller-Privat 2018). This is so refreshing to hear.
Finally, I like George’s approach to curation and storytelling. He is open to collaboration in more than one medium and there is no fixation with the Barthesian author-as-controller. In Hackney at Night George collaborated with the writer Karen Falconer: her short story, his images. ‘What I wanted was to take the reader on a gentle meander through the night, to feel like they’d have a bit of a dream … I want the reader to make up their own relationship between text and image. This isn’t a shouty book: we’re all grownups, so make up your own stories, it’s much more fun’ (British Journal of Photography 2015).
So, overall, a lovely find.
BRITISH JOURNAL OF PHOTOGRAPHY. 2015. ‘David George: Hackney At Night’. bjp-online [online]. Available at: https://www.bjp-online.com/2015/12/hackney-at-night/ [accessed 4 Apr 2020].
FALCONER, Karen and David GEORGE. 2015. Hackney by Night. London: Hoxton Mini Press.
GEORGE, David. 2020. ‘David George Photography’. David George [online]. Available at: http://www.davidgeorge.eu/ [accessed 3 Apr 2020].
KELLER-PRIVAT, Isabelle. 2018. ‘Hackney by Night: An Interview of David George and Umut Gunduz’. Miranda [online]. Available at: https://journals.openedition.org/miranda/13553#text [accessed 3 Apr 2020].
Figure 1. David GEORGE. 2015. Hackney by Night. From: Karen Falconer and David George. 2015. Hackney by Night. London: Hoxton Mini Press.