Hitting Home

Local photographer Josh King is the latest addition to Gallery 150’s catalogue – a new venue to The Boar. The exhibition space aims to promote the work of unknown artists from the Warwickshire area, encouraging all to find a love of creativity.

“On the Street” focuses on the lives of the homeless in Leamington. This honest portrayal of society’s most inferior, questions our discerning attitudes through a visually stunning display. Whilst admitting it is the intense monochromatic portraits that are the most effective, the artist has stressed the need for the mundane shots – those which embody the daily lives of these men, providing a narrative that is essential if the purpose of this exhibition is to be positively realised. With Leamington Council failing to comprehend the unfortunate plights faced by many, advising those pictured to “keep living the dream”, it has fallen to King to persuade the average gallery-goer that the stereotypes frequently attributed are largely false, and that the support given is inadequate and in need of revision.

The series presented is the culmination of a year’s work; and several more of interest – the idea stemming from a conversation held with an individual five years ago. King told how over five hundred images of varying class were documented during this period – the portraits contributing significantly to this number as they took the longest to perfect. Unlike many photographers who make use of a studio when capturing the human figure, all were taken in-situ in natural light owing to an increased sensitivity. The majority of these focus on the confrontational direct gaze of the subjects, the emotional pleas masked beneath layers of dirt and hardship – the sense of fragility and openness subverting the typically tough exteriors.

Photography is a particularly apt choice of medium in light of the theme. Here the transient quality serves to highlight the idea that these images are but a few seconds within a lifetime of struggle – reinforced by the fragmentary nature of the exhibit. The emotionally raw faces observed are both haunting and haunted. The use of black-and-white – functioning as a reminder of refinement and simplicity – makes reference to the cinematic, documentary style of photographers past. The dramatic pieces which exploit the use of contrast appear stationary – perhaps reflective of the vicious circle these men find themselves in.

The hang of this exhibit could be considered overwhelming. Conventionally one may have found it stronger had fewer pieces been included – the need for greater consideration of spacing between images perhaps allowing the spectator to experience the fettered nature of these lives. Although the individuals are physically free, they are constrained by the dictations of the constabulary and subjected to the negative criticisms of the general public. Unlike many artistic productions, all the images here lack titles; the numbers attached are the only means of distinction. This alludes to the sequential, timeless nature of the collection. It is also suggestive of an album, a series of memories and encounters. Although King has his favourites, one photograph does not equate to a finished piece; the exhibition purely works as a set of images – King strives for the recognition of the situations these men find themselves in by overpowering the audience with quantity rather than quality.

Particularly successful is the inclusion of both photographs No.1 and No.3. The first occupies a slightly larger space than the others exhibited. Whilst many noticeably make reference to the same subjects, King plays upon the spectator’s visual awareness as they move around the space with regard to these two images: No.3 – although not at first obvious is the same individual as No. 1 – has the tragedy more entrenched in it, taken nine months after the first. The figure’s gaunt, bearded face speaks of the pressure of time and the physical and mental endurance that is required.

For King, it was important to understand his sources first – to forge a friendship with these men who are well practiced in observing both abuse and ignorance – the photographs were merely a secondary response. The omission of names emphasises the notion that the situation is one of a universal nature: the subjects could be anyone; all that separates us from them is luck and support. It is also suggestive of the relative insignificance borne, their identity is determined solely by their situation.

In addition to the stirring faces that line the walls at regular intervals, the real-life characters have been observed to roam the gallery. While at first this may appear disconcerting, their ‘grubby’ presence tarnishing the hallowed white-cube and questioning the class of the observer of art, one can understand their need to see the outcome. They themselves have reacted positively to the attention, describing King and his work as “amazing”.

In my opinion it is an inspiring tribute and the artist is worthy of appraisal, his lack of professional training failing to show. Josh King is an inspiration not only to the homeless featured but also to aspiring photographers who lack the confidence to gain recognition for their hard efforts. It is a high calibre exhibition worthy of anyone’s time.

_Josh King’s “On the Street” is at Gallery 150 in Leamington until the 10th February. Any contributions made are gratefully received and donated to The Leamington Way Ahead Project; part of the Salvation Army_