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Raymond MOORE

Portrait of Raymond Moore by Peter Marshall

Portrait of Raymond Moore by Peter Marshall

During my research for assignment 4 and the exercises I came across a striking photograph in which a mirror fixed into a wall reflected a dog framed by a window. It took a few seconds for me to read the photograph and once I had I realised how alike this was to Brandt’s work. It was almost abstract and gave the illusion of a house within a mirror within a road; in effect a scene within a scene. (Hill, 2004)

I googled Raymond MOORE and found very few websites with reference to him or little information about his work. However, I watched an interesting three-part BBC Northwest documentary a ‘Coast to Coast Special’. (David Moore, no date)

Moore explained that he chronicles a piece of ground returning time and time again. He said, “When I go back to the same place, weather and light has changed but maybe my attitude towards it.” He continued in the documentary to say, “An image may arise from that which is relevant and may relate to an image taken at the same time.” (David Moore, no date). This reminded me of the works of both Joe Cornish and Fay Godwin, both returned to locations that they were familiar with and documented the change in the landscape.

Moore was born in 1920, in Wallasey, Cheshire and studied at Wallasey College of Art where he gained a scholarship to the Royal College of Art at the age of 27. He was the first living photographer to have an exhibition funded by the Arts Council (Welsh Arts Council to be precise). His full-time occupation was a teacher, but this seemed to stifle his photography and perhaps made his less successful than that say of Brandt.

Despite this he had several solo exhibitions and a major retrospective at the infamous London’s Hayward Gallery in 1981. He was only the second British Photographer prior to Bill Brandt in 1970 to have had his work shown at the Hayward Gallery.

He felt it was difficult to sell photographs and perhaps this influenced his decision to work as teacher as he was unable to sustain being a full-time photographer. I dare say that this has not altered with evolution of digital photography and the market place being saturated with images.

Moore created photographs of the commonplace but suggested there was something uncommonly strange. Moore described his own work as, “The no-man’s land between the real and fantasy. It is neither documentary nor journalistic.”

I would agree with Moore’s description of his work. Two examples of which I found on the website ‘The Golden Fleece’. Allonby, 1982 and Cottage Window. The first photograph Allonby echoed of Martin Parr’s work where he photographed Hebden Bridge in contrast to the abstract photograph of Cottage Window.

Cottage Window, Photograph by Raymond Moore

Cottage Window, Photograph by Raymond Moore

Allonby, 1982; Photograph by Raymond Moore

Allonby, 1982; Photograph by Raymond Moore

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bibilography

David Moore (no date) Raymond Moore Photographer Part 1 mov. Available at: https://www.youtube.com/watch?v=WrtaFo_tWIM(Accessed: 5 April 2018).

Hill, P. (2004) Approaching photography. Lewes (GB): Photographers’ Institute Press.

Our friends in the north: Martin Parr’s portraits of Hebden Bridge in the 1970s(2015) the Guardian. Available at: http://www.theguardian.com/artanddesign/gallery/2015/mar/24/martin-parr-the-non-conformists-compton-verney(Accessed: 27 August 2016).

‘Remembering Raymond Moore – The Golden Fleece’ (no date). Available at: http://the-golden-fleece.co.uk/wp/remembering-raymond-moore/(Accessed: 5 April 2018).

 

 

 

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