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Your Custom Text Here
Please open your eyes
Try to realize
I found out today we're going wrong
We're going wrong
Please open your mind
See what you can find
I found out today we're going wrong
We're going wrong
We're going wrong
We're going wrong
We're going wrong
- Jack Bruce, Cream 1965
Taking the title from the song on Cream’s 1965 release ‘Disraeli Gears’, We’re Going Wrong is a serveyic exploration of the Buckinghamshire region of Disraeli in High Wycombe, Land that once had belonged to PM Benjamin Disraeli.
Inspired by W. Eugene Smith’s 1958 sequence from his Jazz Loft window, much of the work is explored from the confines of the window view of a small terraced property on the edge of the District; the postives of multiculturalism and family networks is balanced with experiences of drug dealers, poverty, and racism; and is much unchanged since Gavin Watson documented the youths of the same town in the 1980s.
This series embraces the physical working practice of photography and through the use of annotated darkroom contact sheets, shows the editing process, allowing the failures to be seen in relation to the sucessful frames.
Please open your eyes
Try to realize
I found out today we're going wrong
We're going wrong
Please open your mind
See what you can find
I found out today we're going wrong
We're going wrong
We're going wrong
We're going wrong
We're going wrong
- Jack Bruce, Cream 1965
Taking the title from the song on Cream’s 1965 release ‘Disraeli Gears’, We’re Going Wrong is a serveyic exploration of the Buckinghamshire region of Disraeli in High Wycombe, Land that once had belonged to PM Benjamin Disraeli.
Inspired by W. Eugene Smith’s 1958 sequence from his Jazz Loft window, much of the work is explored from the confines of the window view of a small terraced property on the edge of the District; the postives of multiculturalism and family networks is balanced with experiences of drug dealers, poverty, and racism; and is much unchanged since Gavin Watson documented the youths of the same town in the 1980s.
This series embraces the physical working practice of photography and through the use of annotated darkroom contact sheets, shows the editing process, allowing the failures to be seen in relation to the sucessful frames.
©Tom Warland 2024