Supported by Mulberry
Tim
Walker is renowned worldwide to be one of the great fashion photographers of
the 21st century. His fantastical, fairy tale images are of a staggering
creation, even in today's contemporary art world. The chance to see Walker's
photographs exhibited is, in itself, a sight to behold. However, what sets this
apart from other current exhibitions is that alongside the images, you are
given the chance to walk amongst the very props that Tim Walker uses to create
the magical worlds in which he creates work.
Walker's
work fuses a dreamy childhood nostalgia with the cutting edge of contemporary fashion. He is no stranger to
huge names in the fashion world such as Alexander McQueen (a distinctively
intimate portrait of whom can be seen in the Storyteller show), Meadham
Kirchoff, and is a resident name inside the pages of Vogue and LOVE magazine,
to name a few. However, as you walk amongst giant clam shells and a four-piece
string quartet of insects, it becomes clear that Walker's success is not due to
who features in his photographs, or what they wear. It is the sheer magnitude
of creation, that most people tend to lose sight of aged around 8 or 9. Walker has, incredibly, not only kept in
touch with this, but projected it into creating some of the most beautiful and
awe-inspiring photographs of the 21st century.
Nothing
can prepare you for the way you are thrown into an imagination time warp when
you enter the exhibition in the east wing galleries at Somerset House. There is
no easing you in- the first room is filled mostly with a bright blue model Spitfire
inspired by the 1946 film "A Matter of Life and Death", designed by
Andy Hillman. This is surrounded by Tim's photographs of the Spitfire crash
landing into Lily Donaldson's drawing room at Glemham Hall in a wonderfully
glamourous 1940s styled shoot.
This is
just the beginning. Throughout the exhibition, you will find yourself at the
foot of the pile of sand, at the top of which, behind a door stands a
life-sized Agyness Deyn, beneath a giant snail the size of a dog, and pondering
an image of a granny in a space ship. There are no boundaries to Tim Walker's
imagination. Interestingly, Walker himself seems to have more than plentiful
faith in this. His images are not titled with the fanciful names you might
expect them to be- simply a descriptor
of who, where and when ("Malgosia Bella and skeleton; Essex, UK;
2009"). Truthfully, he doesn't need to title his images any more
extravagantly than this. There is enough to make your imagination fly and your
heart flutter with childhood nostalgia in the image alone. There is no need for
a title that offers anything more than the facts. Walker gives you the tools to
construct any embellishment or narrative by yourself.
For
myself, one of the most exciting pieces of the exhibition is the huge swan boat
which has featured in a number of my personal favourite images by Walker. These
objects in themselves carry an air of magic- as if by lying dormant they are
inconspicuous, but the images surrounding them are proof of their alternate
lives in a dream like world- from the giant clam where Clementine Keith-Roach
dozed like a fairy tale Venus to the exquisite swan boat. Like a toy that comes
alive at night, you wait for the swan to slip up and blink or move its head- so
much does it seem to come to life in the image "Fantasia on a Nautical
Theme".
"Very
often there is a kind of nostalgia built into a photograph, by virtue of taking
it. You've taken the photograph and it's immediately a thing of the past the
moment you press the shutter."
Admittedly,
there was one area of the exhibition which I personally found underwhelming-
"Slight Angle to the Universe" seemed too much like Tim Walker's take
on Martin Parr, depicting more or less everyday scenes with an odd twist- for
example, a fox hunt with one of the hunters having had their horse replaced
with a space ship. Although undoubtedly still wonderful photographs, to me they
just didn't encapsulate the same fairy tale magic as the rest of the
exhibition. Whereas the rest of the images in the show do live up to Walker as
the "storyteller", leaving you as the viewer with your mind
overflowing with ideas and inspiration, the "Universe" series left me
feeling like I had been shortchanged in these stories- there just wasn't enough imagination in them to
inspire anything in me.
It was,
then, a huge and very welcome surprise when in the last room I found the prop
of my all time favourite Tim Walker photo-shoot.
The huge,
10ft baby doll that was featured chasing Lyndsey Wixson in Vogue Italia earlier
this year waits in the final room of the exhibition. She is as creepy in life
as she appeared in the shoot, and the detail in her is incredible. You are
given the chance to get up close and personal with her, everything from her
thick eyelashes to her many underskirts. She is both terrifying, and beautiful.
Even more excitingly, the exhibition also features some of Walker's doodles and
notes in planning the shoot, and the dolls adventures alongside Wixson.
This is essentially the epitome of Walker's work. Creating something, from scratch, that he then brings to life in such a beautiful and wonderful way. Whether it be gorgeous and fantastical, or the stuff that, as a child, your nightmares were made of, it cannot be denied that Walker's photographs have their own kind of magic- the kind that transports us all back to a time when our imaginations ruled our world, and it was certainly possible to have a nap in a giant seashell, if we so wished.
