CHARACTER BUILDING
FINE ART PHOTOGRAPHY AWARD NOMINEE 2021
A contemporary view of Andalucia, Spain.
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Artist statementFor his latest project (Character building), William Radford revisited his childhood home in an attempt to shed light on the surroundings that shaped his adolescence. Taken over the course of 3 years, the series explores the notions of childhood memories and the role the environment plays.
To evoke such surreal tones Radford uses a combination of the on-camera flash with coloured gels. Not only does this technique induce a dreamlike quality to the project, it also suggests the artist had a colourful childhood. |
JET LAG
FEATURED IN F-STOP MAGAZINE
2020
Airport documentary photography, pre Covid-19.
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Artist StatementConducted from 2018 to 2020, the series focuses on the process of catching a flight. From check-in to duty free, I have documented each stage of the journey from a passengers perspective.
It's also worth mentioning that the whole series was shot from the hip without looking through the viewfinder. This was especially important during security checks and on board, as I did not want to draw attention to myself or cause problems. |
FAMILY MATTERS
FEATURED IN SOURCE MAGAZINE
2020
An unorthodox family photo album.
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Artist StatementOriginally intended as a statement against the idealised family album. The concept derived from the desire to do family portraiture without conforming with the ‘happy family’ aesthetic. The tights serve to distance, distort and discomfort familiar faces, replacing white shirts and smiles with stockings and a frown. The series has since evolved to also reflect on the ‘strangers’ in my family. The members which fall into a limbo between stranger and familiar. Whether its a third cousin twice removed, that weird uncle you met at a wedding once, or the members which live on in photographs.
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HOLY SMOKES
2019-2020
A series about the similarities between smoking and religion.
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Artist StatementStill a work in progress, I cultivated these images to suggest a similarity between Smoking and Religion.
Especially drawn to the iconography of each, I enjoy the tension created by combining the two. Through this visual tension I hope to compare and contrast any resemblances. Such as; Cause of death, Advertising, Subscription and Lifestyle. |
OBJECTIFICATION
2019
Condoms on objects which naturally insert into eachother.
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Artist StatementAddressing inanimate objects as masculine, feminine or neuter, approximately one-quarter of the world's languages use a noun class system where all nouns inherently carry a gender.Objectification explores this correlation between grammatical gender and article visually, reflecting on an item's semantic value in order to challenge its sex.
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DIRTY DISHES
2018
Exploring beauty in the otherwise ugly.
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Artist StatementAn homage to the taste and flavour, instead of aesthetic qualities. Food has always been a status symbol, but contemporary culture appears to have confused aesthetic values for nutrition. Social media promotes the feeding of our eyes, rather than stomachs.Intended as a statement against the way social media has influenced our eating habits. The premise of this series is to prioritise the enjoyment of a meal, over the announcement of said meal.
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FOREIGN LANDSCAPES
2018
Macro mould landscapes.
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Artist StatementThe ever-present seeds of these landscapes settle everywhere we look; only when the conditions are right do these, flourish.
Having documented a variety of left overs, these hidden worlds provide an unsettling juxtaposition between disgust and attraction. As growths feed off the neglected nutrients to thrive, intricate structures start to form. My aim with this project is to find beauty in the repulsive, exploring the anti-aesthetic to challenge the notion of visual allure. |
DOOR TO DOOR
2017
For this project I knocked door to door asking if I could come in for a photo.
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Artist StatementLoosely inspired by Shizuka Yokomizo's - Dear Stranger. The project was originally conceived as a method to describe a sitter through their environment. Instead of using facial features, I allow the habitat paint to paint a portrait.
I would knock door to door, and repeatedly explained the concept to those who answered. Depicted below are the brave volunteers. The piece has since expanded to reflect more broadly on the willing individuals. Surprisingly, 3/4 of which were women, and only one household pertaining to an affluent area. Raising questions about power and vulnerability. |
