{"id":101324,"date":"2017-03-09T07:21:05","date_gmt":"2017-03-09T07:21:05","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=101324"},"modified":"2017-03-06T17:22:37","modified_gmt":"2017-03-06T17:22:37","slug":"book-review-harrodsburg-dougie-wallace","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/book_reviews\/book-review-harrodsburg-dougie-wallace\/","title":{"rendered":"Book review: Harrodsburg by Dougie Wallace"},"content":{"rendered":"\t\t
\n\t\t\t\"Harrodsburg\t\t\t

Confrontational street photographer, Dougie Wallace, turns his attention to the extravagance of London’s Knightsbridge.<\/p>\n\t\t<\/div>\n\t\t\n

It\u2019s probably not unfair to say that Dougie Wallace is a man without fear. Just a cursory glance though the Glaswegian\u2019s ever-growing body of work is enough to convince you that he is either very brave or, at the very least, hell-bent on proving himself to be the most confrontational \u2013 and divisive \u2013 figure on the contemporary photography scene. Wallace\u2019s style is akin to that of Bruce Gilden. His portraits, many of which are taken right in the subject\u2019s face, are big, bold and, at times, repulsive. He\u2019s something of a street photography highwayman. His method is to jump out with his camera in hand, take the image and do a runner while the subject is still regaining their sight after being near-blinded by Wallace\u2019s flash. While this approach to street photography may not necessarily seem like the most ethical, there can be no denying that it is utterly compulsive viewing. Where Wallace deviates from Gilden is in the almost toxic application of colour (although Gilden has himself experimented with colour). Looking at one of Wallace\u2019s projects can sometimes feel like looking at a particularly colourful comic book that has been thrown into a nuclear reactor. The images are garish and striking.<\/p>\n

This latest volume from the self-styled \u2018Glasweegee\u2019 finds him once again entering into the human safari and turning his attention to the excessive wealth and consumerism that can be found around the area of London\u2019s Knightsbridge, home to ultra-elite department store Harrods. It\u2019s a fitting marriage. Wallace, aesthetically, is attracted to the excessive. What better subject than the extravagantly affluent? The area and the people are so extravagant they could have caused Liberace to throw off his wig and storm off in a sulk.<\/p>\n

Outside influence<\/h2>\n

Despite the (aggressively) playful nature of Wallace\u2019s work, he is a man with something to say. Wallace\u2019s beef is with, as you may have guessed, the so-called \u2018one per cent\u2019, particularly those members of the club who happen to be Middle-Eastern property buyers. Wallace\u2019s anger isn\u2019t class based. It\u2019s community based. As many of us have, Wallace has had to sit back and watch as the rich run roughshod over the capital and turn what used to be affordable and community-focused areas into playgrounds for the elite. Wallace\u2019s project is, at its heart, a rage against injustice. It also happens to be very funny.<\/p>\n

A small review can\u2019t really do justice to what Wallace has to say. It\u2019s worth taking yourself over to his website (www.dougiewallace.com<\/a>) and reading his in-depth explanation for Harrodsburg. And if you don\u2019t feel queasy after reading that, then you\u2019re probably even tougher than Dougie Wallace.<\/p>\n

SCORE: 5 out of 5<\/h2>\n\"Harrodsburg\n

Published by<\/strong> Dewi Lewis<\/p>\n

Price<\/strong> \u00a330, 96 pages, Hardback<\/p>\n

ISBN<\/strong> 978-1-911306-10-8<\/p>\n","protected":false},"excerpt":{"rendered":"

Confrontational street photographer, Dougie Wallace, turns his attention to the extravagance of London’s Knightsbridge. 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