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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Dougie Wallace
Dougie Wallace

Dougie Wallace

Country: Scotland

Dougie Wallace, also known as 'Glasweegee', is a Scottish street photographer, based in east London. He was born and raised in Glasgow, lived in Blackpool for a couple of years in the 1980s before enlisting in the army, and has lived in Shoreditch, east London, for 15 years.

For two-and-a-half years beginning in October 2010 Wallace made 30 trips to Blackpool to complete his first book Stags, Hens & Bunnies: A Blackpool Story (2014), photographs of the stag and hen parties that visit the town, "lads and lasses on their worst behaviour, partying away in a bawdy sea of L-plates, handcuffs, blow-up dolls and uniformed fancy dress in various states of undress and drunkenness; revelling in bars, puking in the street, refuelling at chip shops."

Wallace spent 15 years photographing in the Shoreditch area of East London, a series published in his second book, Shoreditch Wild Life (2014). He photographed the disappearing Premier Padminis in Mumbai for his series Road Wallah.

Source: Wikipedia


Scottish photographer Dougie Wallace is internationally recognised for his long-term social documentary projects and a distinct direct style of expressive street photography. He has won prestigious awards, exhibited as a solo artist or in joint exhibits in world-renowned institutions and photographic festivals, authored a number of books, all critically acclaimed. London-based, his assignments and personal work take him around the world.

To coincide with BBC Season of Photography, in March 2017, BBC4 broadcast a 30-minute programme about Dougie, as part of the What Artists Do All Day series, providing insights into the lives of outstanding artists. The programme follows Dougie on the streets of Knightsbridge, as he completes the photographs for the book Harrodsburg. Available here to watch.

More recently, Dougie was commissioned by Sky Art 50 to create a film, which explored what it means to be British in the light of the EU referendum. It was showcased at The BALTIC Centre for Contemporary Art and the Barbican. It was also broadcast on Sky Arts channel on the night of the original Brexit leaving date (March 29th, 2019).

Dougie attributes his unique vision to his Glasgow up-bring and experiences lived or perceptively witnessed over two decades of residing in east London, from the uninhibited party days, when the area was a cultural wasteland through to its on-going urban regeneration, turning this district into a fashionable destination and tourist Mecca.

"Living in Shoreditch has helped me develop an eye for the tragi-comic, messy side of uninhibited human behaviour. My Glasgow upbringing has shaped my style, which has been described as 'visually exaggerated' and 'hard-edged'.

What motivates my pictures is human behaviour. People’s interactions and emotions fascinate me. My stories are thematic. They have similarities of expressions running through them. My work is informed by societies’ trends and incongruities and translating what I see through the lens into wit, criticism and humorous vignettes. I’d like to think that my photos convey a point of view that believable and absurd."


This idiosyncratic point of view comes to life in his books, which have all equally generated critical attention and viral buzz. His books Stags, Hens and Bunnies: A Blackpool Story (Dewi Lewis Media, 2014) and Shoreditch Wild Life (Hoxton Mini Press, 2014), each a distinctive spin on hedonism and excess, turned Dougie into a household name among taste-makers. Road Wallah (Dewi Lewis, 2016), which offers a unique insight into the world of Bombay cab drivers has been exhibited at numerous photo festivals and gallery shows and was shortlisted for 2015 European Book Publisher’s Award. Followed Harrodsburg, which won the inaugural 'Magnum Photography Award 2016'. Well Heeled (Dewi Lewis, 2017) is an observation about the cultural shift among dog owners (Dewi Lewis, 2017). Goan to the Dogs is to be published by Dewi Lewis in 2020. East Ended is a reflection on gentrification and its ambiguous and fraught relationship with street art and local communities. Newly published by Dewi Lewis.

Dougie is sought after for opinion, project assignments, editorial features and ad-hoc opportunities. His work has been featured in assignments and publications for magazines and newspapers, including, The Sunday Times Magazine, D Repubblica, The Economist, Le Monde, The New Yorker, Stern, The Guardian, New York Times, The Independent, International New York Times, Observer, GQ, Dazed, Hunger, Vice, BBC, CNN, Itsnicethat, Marie Claire, Die Zeit, Süddeutsche Zeitung, El País, Der Spiegel, Macleans, NZZ, Die Tageszeitung, Neon, dS Magazine - De Standaard. As well as numerous photography magazines, BJP, GUP, Amateur Photographer, Professional Photographer, F2, Fotografia Magazine, Lens Culture, Leica LFI, L’Oeil, Fotomagazine, European Photography and Photo International.

Dougie continues to shoot fashion for the likes of Tatler, Balenciaga and Dazed.

Dougie Wallace has conducted workshops both in the UK and overseas. He regularly donates his work to his chosen charities each year.

Source: www.dougiewallace.com


 

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Infinity Award, Young Photographer, International Center of Photography, 1998. 2014 L’intuition – A projection in collaboration with musician Vincent Courtois, curated by Christian Caujolle. Performed In la Friche Belle de Mai, Marseille, 4 Fevrier Le Lux Scene national de Valence, Festival Banlieues blues, Paris and Rencontres photographiques d’Arles SUSPENSION Noun: Suspension, Verb: suspend: “To cause to stop for a period, hold in abeyance; suspend judgment.” In Michael Ackerman's work, documentary and autobiography conspire with fiction, and all of the above dissolve into hallucination. The particular journeys of his book Half Life encompass New York, Havana, Berlin, Naples, Paris, Warsaw, and Krakow, but the locations aren’t necessarily recognizable at all. Michael has been moving towards this erasure of geographical and other distinctions in his photographs for some time. 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A naked man kneeling on a bed; we find him in supplication or some unspecific bondage. He is trapped, caught between stations, and the terrible but accepted scratch lines on the negative make it feel like TV or video, as if the man is seen through some screen, receding. It’s no longer a portrait of a particular person. It seems as if the man has become some vague entity, a sick feeling, a migraine headache, I don’t even know. A man goes up stairs or an escalator and his hand is ridiculously long, maybe like that of Nosferatu in Murnau’s silent film. The stairs begin in Lodz but, according to the next page, pass a landing in Havana. Suspension... A woman, naked, holds her arms against her torso. She looks up, somehow in simultaneous surprise and recognition. I can’t say if her face shows love or sadness or fear, but there’s something inevitable in her expression. It’s strange how she seems so caught in flux, while her shadow, so dark on the wall, is just the opposite, permanent.* * * In the early stages of his building the Half Life book, Michael and I talked about where to put the series of pictures taken from train windows, mostly in deep winter. At one point they were scattered throughout, at other times they fell together in a bloc, but in any case, the body of work, and the book as a whole, started to feel to me like they ran on rails in the snow, and the places and people within them were stops, things seen or felt in passing. They’re encountered, drift away, are longed for, returned to, left behind again. If Michael’s work is sometimes tough, the landscapes remind us back to a balancing delicacy, a faith in beauty. Michael deeply loves the snow trains that cut archaically through Europe, especially through Eastern Europe, especially the overnight trains which he and I share as our transportation of choice. On these you travel but are nowhere for the duration of the trip, floating through whiteness if it’s wintertime. This nothing in which things float is echoed in his prints, though the white is sometimes heavily vignetted, as if darkness wants in. Alternately, the backgrounds can be of total blackness, and then the subject radiates like a candle. But back to the snow trains, which often run through the most ignored and beautiful parts of cities, where commercial facades drop away like forced smiles into debris and frozen mud and warehouses, which then give way to fields. Riding on one of these trains outside of Katowice, Poland en route to Paris, Michael spotted in the distance the warped row of dead train cars seen in the book. Desperate to photograph them, he guessed at their location and eventually returned. He got off at the closest stop, trudged through the snow, and found the trains, but approaching across a frozen field, camera in hand, his legs suddenly plunged through a chasm in the whiteness, a missing manhole cover. In what he referred to as a “rare case of quick thinking,” he stuck out his arms, breaking the fall, and managed to pull himself out. No one knew he was there, and if he’d perished, it would’ve been for the love of trains, and of wreckage, and of course, of pictures. * * * Many in the panel of men at the beginning of Half Life were photographed in bars. Some were found in a bar in Paris where the old and ageless proprietor became one of Michael’s favorite people, not just in the city, but in the world. Her bar was a special refuge, and though she was difficult, she truly took Michael in. This tiny bar remains a constant, a place of return, but many of the regulars he’s met over the years are now gone. For some moments however, they drew, or seemed to draw, terribly close, with alcohol as glue and pictures proof -- but of what… mutual need, eventual isolation, or the pendulum swing between the two… A bar is something like the center of an hourglass: at the top is time disappearing, and at the bottom, time spent. But to those in the place, the regulars, the middle is the only thing apparent and there time has stopped. (An interesting circumstance for others in the time-stopping business, and not just still photographers. The phenomena is beautifully understood in Daumier’s paintings of drinkers or Denis Johnson’s Jesus’ Son). It is illusory, of course; the people are held in that place where, like the proverbial cartoon character who’s gone off a cliff, they just don’t realize the ground has dropped away beneath their feet. Once again, suspension. Which also has a musical definition: The prolongation of a tone in one chord into the following chord, usually producing a temporary dissonance. This prolongation of tone, an ongoing search, gives the work continuity, as does the dissonance, which can be restlessness or loss. I won’t talk much here about the emotional drive behind the work, or the personal ramifications, but that’s my hesitation, not Michael’s. There’s a picture in Half Life of the photographer and a woman, both with shaved heads, a troubled mirroring, a last strange union. The photograph is a pact: see you now, see you later, so long... In the last few years, such goodbyes have given way to a series of welcomings, explorations of the concrete changes and dream states of immediate family, wife and child. These pictures, deeply caring but by necessity fearless, reverberate with bluntness, warmth, shock, matter of fact erotics, and of course love, which when regarded honestly, includes a steamer trunk of contradictions. So, there is fear mixed in with the fearlessness, the joy includes some trepidation, the innocence is utterly real, but tangled and fleeting. How disappointing it would be if a photographer so open to the wrenching truths of the world would suddenly pull all punches when faced with the most intimate situation of all. How unfortunate it would be, for all of us, if investigations of intimacy were left to the whitewashers and the advertisers, the puritans and the pornographers. And so, in the recent work, new tightropes are stretched and new risks are taken. But in looking back at Michael’s work as a whole, I’m reminded that one of the great challenges artists face is when to pull back from the proverbial edge - those addicted to pushing the envelope sometimes fall into a negative trap which has its own complacency. A kind or subtle or purely beautiful image might actually be the risk that they can’t seem to take. The walking of tightropes has always been integral to Michael’s work, but I don’t see him falling into that dark trap, which is why the work is thorny but never cynical, heavy but also sweet. Beyond all of that, I still don’t understand how the pictures happen, how he gets them. It certainly isn’t about the equipment, the cameras come and go, sometimes literally broken but still pressed into use. I think Michael feels that taking pictures and taking chances should be kindred enterprises. I’ve met few artists less uptight about the technology and intricacies of gear and production, though he does of course become completely intimate with what he needs in order to get at what he feels. Once I heard him suggest in a Q & A that he just doesn’t care about technique, but knowing the time and tortures he’s given over to darkroom work, I thought that was a touch disingenuous. He meant that technique and technology are never the core of the matter, and that he doesn’t like to be precious about them. And he needs accidents; they might reveal something, break something open. Sometimes they might go too far and the image itself is obliterated: again, necessary risk. I’ve seen him photograph without putting the camera to his eye, as if to confirm that what he was after wasn’t primarily even about seeing. (That too is deceptive; with time, some photographers know what the camera is getting, regardless of where it’s held). Maybe I mean that compared to many other photographers, Michael’s work isn’t so concerned with sight itself. If he could have been a writer, painter, or a musician, that might have worked too. In any case, the results speak for themselves, and the results are often kind of insane. Sadly, because of the madness of these photographs and the digital times we’ve entered, people increasingly assume that certain pictures must be computer manipulations. Michael is no purist, but that simply isn’t what is going on here. Do you see how it matters that even if these are accidents of light and the distorting lens, they are things that somehow happened, that were? They come out of the real; however unlikely or impossible, they are measurements - not constructions. They are measurements, but in the end, of the interior as much as of the world. But like I said, Michael’s not a purist, and in his impure searching, he occasionally walks a thin line between accepting pure actuality and giving it a nudge. We argue about it. I don’t know what to make of the picture where someone else’s old portrait of Anna Akhmatova is held up and rephotographed. I guess Michael wanted to invite her into that streetscape, felt she was part of his history or emotional landscape; maybe he just loved her profile and wondered, what the hell, why not? Sometimes the work is funny. The absurdly mismatched nude couple in the book aren’t funny but they are, as is the man who wears a monocle made of smoke. The Coney Island hotdog signs reading ‘Franks’ and the American flag they stutter towards comprise a whimsical tribute to one particular, beloved photographer; first name - Robert. Occasional whimsy aside though, Half Life is a rough ride through damaged places and situations. And what’s it like to be with Michael when he’s photographing such things? Well, it isn’t necessarily comfortable, or easy, or pleasant. Sometimes artists push their work, and their luck along with it. Sometimes Michael just plunges in. I was crossing the street with him on the Lower East side once when a woman suddenly appeared, coming towards us in the intersection. Something in her presence struck us instantly with force -- she might have been beautiful or she might have been mutilated -- we had no time to register anything; but he lunged and got off one picture as I stood by and winced. I doubt she noticed at all, but what if she had? (The picture is in Fiction; it appears to be of a ghost in a miniskirt, perhaps with a black eye.) Such pictures do not come out of discretion, or delicacy, or fair exchange. In many of Michael’s pictures mutual understanding simply may or may not have existed. There is a harshness to this observation; it troubles me, and yet I can say that Michael’s pictures are always, deeply made without judgment, in total acceptance. That in itself is a kind of love. And the subjects obviously extend him enormous trust. (Well... except when they don’t. Walking with Michael on a street in Krakow, he photographed another approaching woman, a middle-aged matron. She yelled angrily at him in Polish; he kept walking but yelled back, in Polish: “You’re beautiful.”) It is probably no accident then that the gesture of the embrace recurs again and again in Michael’s work. Which leads me to what may be my favorite set of pictures that Michael has taken, of the couple on the stairs: To what do we owe this strange and tender record ? And what is the record of? An older man and his young girlfriend collapsed in drunken surrender… or perhaps a father and son broken together on a subway staircase ? Who is holding who up? Was the man once a boxer? If the younger one is in fact a woman, is she his lover? The stairs are at once unyielding and rippling, bending and unbending. This couple, whatever their relationship and circumstance, are attended to then in a series of photographs, equally harsh and gentle, unwrapped over time. But what time is given - minutes, hours, or an unending day or an unending night? You can just about hear the tinny loudspeakers in the background of the train station, and thinking of stations, I am reminded that the 13th station is the descent from the cross. The actual circumstances, the truth of it, the year and the gender, hardly matter, don’t matter at all. At its best, the work speaks past such details, and even beyond photography.
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