Sketch from the box of delights series of photographs
'Wonderful Things' was a exhibition commissioned by at the Victoria and Albert Museum in collaboration with the fashion photographer, Tim Walker. It gave a unique insight into the creative process of one of the world's leading photographers, who has mastered his . We are able to follow his exploration of the museum, in search for treasures some of which have never been seen by the public, and pick ten forgotten gems, which he would then bring back to life through ten series of photographs. His group of chosen objects are as eclectic as his style. They range from a photograph of the Bayeux Tapestry, a red silk gown designed by Alexander McQueen for his "The Horn of Plenty" collection to a plaster cast of a fig leaf, that was used to cover the statue of David's modesty when presented to Queen Victoria.
Shona Heath, a longtime collaborator of Walker's, headed the production design of both the shoots and the exhibition. By recreating the inside of a dark chapel to house the stain-glass window inspired photographs and light pink padded walls for the Bayeux Tapestry shots, Heath was able to create an immersive experience for each set of photos, creating an intimate focus that is sometimes lost among the usual arrangement of a photography exhibition. The exhibition was mesmerising and we picked our favourite shoots out of the ten displayed.
illuminations
Sketches from illuminations series of photographs
The display of stain glass windows is a permanent fixture at the V&A and one that I am always drawn to. Walker was particularly struck by 'Tobias and Sara on their Wedding Night', a couple snuggled up in bed together for the first time, his small dog curled up at the foot of the bed. Walker embedded many of the features of this piece to create his 'illuminations' series. The couples' medieval bedclothes were reimagined as full bodied padded suits, the bright flat colours were created using gels and projections and the fragility of the window panes were emphasised by the use of cracked glass.
pen & ink
Sketch from pen & ink series of photographs
Stored within the Paper Conservation department, Walker was able to examine a collection of drawings and prints of the the sensationalist illustrator Aubrey Beardsley. His iconic black and white drawings depicted provocative scenes enacted by immoral stylised characters that shocked the Victorian society he kept. These surreal beings inspired the collection 'pen & ink', elongated figures with their pointed shoes tied to their inky shadows, stalked by the silhouettes of big black cats, all framed with thin black graphic lines and dots. Beardsley's famous 'Peacock Dress' was recreated with black cut-outs drawn out by Heath, who drew further inspiration from the V&A's impressive archive, by mimicking intricate ironwork she had seen.
box of delights
Sketches from box of delights series of photographs
Walker was fascinated by an intricately embroidered casket, a compartmentalised trinket box from the 17th century. It's satin panelling depicts biblical scenes though needle and thread, crafted by a young girl, who void of modern day distractions was able to share her vision though a painstaking craft. The treasure has never been exhibited, and has lived in the V&A's private archives for many years, unseen. Upon opening the top lid, you find a miniature secret garden lined with a mustard yellow pathway, beaded flowers and trees and curious little clay sculptures. Her carefully crafted private wonderland, set the scene for Walker's tale of a young man imagining his escape from the dreary northern landscape that confines him to a fantasy garden of his own creation where he can play dress up in makeshift Elizabethan costume and express his true identity. The garden however is not open, the character is confined to his haven of reflective green walls, and as his outfits get bigger, he threatens to outgrow his imaginary space and that it may soon be time to step outside.
cloud 9
Sketch from cloud 9 series of photographs
A colourful watercolour from the Mughal Empire, dated around 1590, inspired Walker's next series of photographs. The painting depicts the Hindu deity Krishna, mounted on giant bird-like creature, swooping over his adversary Indra, the lord of the gods, on top his white elephant, as they battle it out in the sky, watched over by other celestial beings seated in the clouds. Walker is not a stranger to Indian imagery and influences, having travelled to India for Vogue where he created some of his most famous work featuring Lily Cole and a pastel dusted elephant encircling the fortified walls of a isolated temple. Rural Worchestershire was to set the scene for 'cloud 9' modelled by an array of models, their glittering skin gleaming from the sun's glaze, emulating the Indian heat. Their bodies wrapped in billowing vibrant and shimmering fabrics combing through lush wild flowers. Towering above them stand dali-esque stilted elephants and leaping pink spotted leopards, marching among the scene.
lil' dragon
Sketch from lil' dragon series of photographs
Two moody empresses prowl an ancient garden by night, weaving through the rambling branches in search for the flower that only blooms in the moonlight. Their figures drown in garments of embroidered velvets, red gathered silks and crushed sequins that catch that fluorescent lights radiating from the flowers. A tame dragon walks alongside its mistress, a thin silver chain around its neck is held within the folds of her dress. Walker envisioned his narrative upon seeing an oriental 18th-century lacquered snuffbox. Wanting to capture the iridescence of the shells that were carved to create the figures on the snuffbox, Heath brilliantly incorporated UV lighting which also helped create dimension to a dark scene.
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