‘Coming Clean’ by Graham MacIndoe at the National Portrait Gallery, Edinburgh

I saunter down Cockburn Street in Edinburgh, that steep, twisted descent resembling a wide stairway to some lower plane, populated by architecture-ogling tourists with DSLR’s bouncing on their girths. Marching past Waverley Station in the enveloping mist, and an emaciated youth runs past, sweat dripping on his glistening pale forehead. On his heels are two plump police officers in fluorescent jackets, well-wrapped for a Scottish Autumnal climate but showing difficulty in athletic prowess, like watching two foil wrapped kebabs with extras attempt to do the sack race. It is Renton from Trainspotting, that perfect-toothed heroin-addict that everyone likes, the ill-constructed and boyish mainstream representation of an affliction that affects hundreds of thousands in the UK today.




As I cross Princes street in the direction of the National Portrait Gallery, Renton fades into the mist and I witness the real thing. A hooded character with heavy grey eyes, shivering in a doorway prompts me for spare change. It doesn’t take much effort to see inconsistencies between the real affliction and Irvine Welsh and Danny Boyle’s depiction. There is no Iggy Pop growl or Underworld thump-thump soundtracking their lives, or moustached loveable rogues we’d jump to shake hands with. There is a shivering, silent and desperate yellow ghost waiting for his next fix.

A successful Scottish editorial photographer with a career based in the United States in the 1990s, Graham MacIndoe developed a debilitating crack and heroin addiction lasting almost a decade. Unable to continue with his professional life due to a heavy and dependent habit, MacIndoe withdrew from a business that was rapidly changing. Editorial photography was becoming less lucrative, and digital technology in photography was changing the game of commercial photography completely.

While under the throes of addiction, the innate photographer and documentarian in MacIndoe sought a way of dealing with his addiction and created a series of self portraits in his vulnerable and dependent condition, feeling compelled to record his life at a point when he felt “isolation, loneliness and pain” and any injection could be his last.  Using a basic digital camera (he had sold most of his equipment to fund his addiction), he photographed himself injecting, or in otherwise internment-like scenarios in his small and cramped apartment. Although the photographs in this series were made during the years 2004 and 2010 while MacIndoe was a heavy heroin user, he saw the value in the work when he rediscovered them in 2015 and after some deliberation, resolved to publish them. They were subsequently published by New York magazine and The Guardian, and have since been acquired by the Scottish National Portrait Gallery in Edinburgh.

Untitled (1), a typical but striking picture from the series shows MacIndoe in a domestic setting in what appears to be a kitchen, standing in front of a bright daylit window. To his sides, fluorescent-lit yellow-green walls frame him, an ironing board and mop duly stand at each corner, while MacIndoe appears to be in the act of falling or slipping. His hands are held half clasped at his chest, holding an object that resembles a syringe. A trickle of scarlet blood runs down his forearm, and with his head tilted upwards with eyes closed he wears an expression of ecstasy or impending martyrdom. The searing light from outwith the building burns through the image of MacIndoe due to overexposure, lopping his head from his shoulder and torsos, his mind separated from his body, already unaware or unconcerned about the camera capturing his image. Resting idly on a unit in front of the window, his body appears slack, in the process of falling. The burn of the outside light, apart from separating his head from his body forms the shape of blinding, glowing  wings behind his shoulders. What goes on in the outside world beyond his window has been obliterated into a sea of whiteness, a blanket of nothingness brought on by a single injection.

MacIndoe made many of these images using the same technique, resting the camera on a shelf or otherwise sturdy surface and setting the camera to take pictures at regular intervals, allowing him to compose the photographs and go about his daily life while the camera  captured his routines, placing himself within the camera’s view when necessary. Printed at 10 by 12 inches, window-mounted and framed, the prints suggest a documentary approach as opposed to a fine art experience, largely due to the limits of the inexpensive digital camera. We are able to peer through the windows into the private life of an addict, to witness what goes on behind closed doors when heroin users are temporarily no longer required to wander the streets. The act of photographing himself while he was in such a vulnerable state became an act of transcending the image-making process of photography and became a form of redemption in itself. Being ultimately comfortable with his photographic subject (himself) he continuously captured the daily life of an addict, bypassing the ethical struggles of photographing other junkies.

In another untitled photograph (2), MacIndoe stands shirtless in his bathroom, his belted jeans hung slackly on his waist due to weight loss, exposing a scarred belly. One tattooed arm is held behind his back, while the other clasps his trouser belt as he stares blankly beyond the frame. The cold fluorescent light bathes him from above, casting heavy shadows over his eyes  while a haunting and dripping reflection of him peers towards us at the left from a misted mirror. The image is reminiscent of Caravaggio’s Doubting Thomas, MacIndoe depicting both one of the bewildered, balding apostles and simultaneously the bare-chested and wounded figure of Christ. The light falls in a similar fashion from an above, unidentified source. As well as gaining a Master’s Degree in Photography at the Royal College of Art London, MacIndoe studied painting at Edinburgh College of Art, and so was well schooled in lighting, composition and in particular making references to other paintings in his work.

The exhibition is a compelling testament to vulnerability and addiction, and offers a valuable insight into the harrowing routines of a dependent drug addict. It is impossible to consider them as merely documents or self portraits, due to the care and consideration that has been placed both at the time of taking the photos and of the sober selective process. MacIndoe has offered a window into a world that many of us never witness, or only see through the rose-tinted glasses of contemporary cinema. MacIndoe has shown us that heroin addiction is indeed, not an increased enjoyment of life “it is a way of life” (Burroughs, 1953). Thankfully he survived in order to tell the story.



All images © Graham MacIndoe

The exhibition runs until November 5th at National Portrait Gallery, Edinburgh.

Lewis Baltz with works by Carl Andre and Charlotte Posenenske

30th April until 9th July – Stills Gallery, Edinburgh


Currently at Stills Gallery is a collection of photographs by Lewis Baltz, alongside works by Charlotte Posenenske and Carl Andre. The exhibition gives the viewer the opportunity to view photographic work (in a photographic gallery) alongside other disciplinaries. Sculptural pieces by Posenenske and Andre also occupy the gallery space, adding another dimension to what would otherwise be a wall-centred exhibition.


The Baltz collection brings together Park City (1979), Candlestick Point (1989) and 10 silver gelatin prints from The Prototype Works (1967-76), a selection of his earlier work. The repetitive arrangement of silver gelatin and chromogenic prints in Candlestick Point is a topographic series made in the Bay Area of San Francisco. Drawing from Andre’s printed poetry nearby, Baltz’s photographs also take on a lyrical form, punctuated by segmented breaks in the display of the framed photographs.


Andre’s work continues onto the floor of the adjoining room in Aluminium Sum Ten (2003) in the form of 55 units of aluminium arranged as tiles. Visitors are offered the opportunity to walk onto the sculpture, allowing them to have a physical connection to Andre’s work while simultaneously viewing Baltz’s prints. The sculptural element continues with Posenenske’s Vierkantrohre Serie D (1967-2014),  an interchangeable galvanised steel piece that can be reconstructed into different forms to reflect its current location, altering the space it occupies.



Bathed in Californian and Western sunlight, Baltz’s topographic photographs reveal details of places he has explored over his long photographic career. He has witnessed and recorded an ever-changing American landscape of neglected wasteland and derelict buildings, an account of our ability as human beings to explore, construct, and move on (not unlike Posenenske’s continually reconstructed piece), seemingly unaware of the environment we leave behind.



Mario Popham: Enduring Growth

19th June until 29th July – Cornerhouse, Manchester

Currently gracing the walls at the Cornerhouse café and bar in Manchester is an exhibition of photographs by Mario Popham.

Bowing Tree

Born in Japan, Popham has lived in Manchester for the past decade and now considers the city his adopted home. The vision of Manchester he shares is both instantly recognisable – overgrown parking lots, viaducts, vandalised buildings – yet Popham manages to create a vision that is undeniably his own. In one photograph a tree bends dejectedly on the pavement, caught in the sunlight on a desolate street. The city and its relationship with the natural environment is a recurring theme in this series – ivy and weeds sprawl wildly over telegraph poles and neglected lots in what appears to be a constant battle between nature and concrete.

The denizens of Manchester also make a regular appearance in this collection, and are at home with the landscapes on display. Like the saplings in other photographs, we see youths and young adults attempting to find their place in an ever-changing city.

Boy on wall

Hulme Party

The large prints hang comfortably in this well-lit public space. Due to their size it is possible to view them all without having to interrupt anyone’s lunch; however, I recommend viewing them more closely if you get the chance, there is a lot of great work to see here.



All images courtesy and copyright the artist


Industries: Street Level Photoworks

24th May until 22nd June – Street Level Photoworks, Glasgow

Currently showing at Street Level Photoworks is a collective show of photography by Alicia Bruce, Martin Hunter, Charles-Frédérick Ouellet and Normand Rajotte.


This exhibition features work by artists from Scotland (Bruce & Hunter) and Quebec (Rajotte & Ouellet) whose work exists on the edges between documentary and poetry, and which addresses cultural identity, post-industrialism, and how boundaries of control are reflected in the urban and rural landscape.

Read more about the exhibition here

Images  Top: Charles-Frederick Ouellet, Normand Rajotte. Bottom: Alicia Bruce, Martin Hunter  / courtesy of Street Level Photoworks


For those of you that cannot make it, check out their independent websites here:






2014 Frames: Glasgow


2014 Frames is a projected photography exhibition taking place at two venues in Glasgow on April 6th-7th and April 10th-11th, which opened at the CCA tonight. The night began with a short talk and screening given by Malala Andrialavidrazana, who discussed her series Echoes from Indian Ocean before continuing onto the projection itself in Saramago Café. It was a hefty amount of work to get through – especially if you didn’t have a seat – but it was a worthwhile experience offering a somewhat condensed glimpse of contemporary international photography. For those of us who like to take our time when viewing works of art, perhaps it was a little too fleeting and transient, each photograph being on display for no more than a few seconds. The joy of the experience however, was seeing such a great comprehensive body of work in one place. The selections were curated by various prominent groups, individuals and collectives such as Document Britain (UK), Hasselblad Foundation (Sweden), Alicia Bruce (Scotland) and Fotogalleriet (Norway) to name a few.




Screening of 2014 Frames continues at the CCA tomorrow. Full info on the event can be found here: 2014frames.tumblr.com

Images © Alex Hall

Philip-Lorca diCorcia: Photographs 1975 – 2012


14th February until 1st June 2014 – The Hepworth Gallery, Wakefield

The Hepworth Gallery in Wakefield is currently exhibiting the works of one of America’s greatest contemporary photographers, Philip-Lorca diCorcia. The collection gathers works from four decades of diCorcia’s photography, including works from six major series.

Apart from in book form, this was the first time that I have seen any of diCorcia’s work in print form. Combined with the large format of the prints, the attention to detail he has given each photograph is staggering and awe-inspiring.

One of his most recognised series, Hustlers, is what the collection opens with. For this series, diCorcia paid his subjects to pose for him for a fee of their choice. The central figure of each photograph is a male prostitute adrift in a neon-lit Los Angeles, men bathed in sumptuous light in cinematic locations – which is not surprising since many were shot in and around Hollywood. The title of each photograph notifies us of the details of the subject and of the transaction undertook between photographer and subject, such as Roy, “in his twenties”, Los Angeles, California, $30. (above)

Also on display were photographs from another favourite series of mine by diCorcia, Heads. These gigantic prints adorned a partitioned area of a room all by themselves. The effect of seeing candid photographs executed in this way and in this scale is mesmerising. DiCorcia captured people in New York’s Times Square using powerful strobes rigged to scaffold, resulting in stark and expressive portraits in a void of blackness.




This is the first survey of Philip-Lorca diCorcia’s work in the UK, on display at a fascinating venue. Go and see it while you can.

All images © Philip-Lorca diCorcia / courtesy The Hepworth Wakefield


‘If you have never seen these images in person, I urge you to make the journey to Wakefield.’ – The Guardian

Letizia Battaglia: Breaking the Code of Silence


Open Eye Gallery presents, for the first time in the UK, the intense work of Sicilian photographer and photojournalist Letizia Battaglia (born 1935 in Palermo, Italy). Featuring a large selection of her iconic black and white images, Letizia Battaglia: Breaking the Code of Silence opens from 22 February until 4 May 2014 and will guide the viewer along a journey into one of the darkest periods in post-war Italian history.

Drawing from Battaglia’s personal archive, which comprises over 600,000 images, the exhibition showcases work spanning from the mid 1970s to the early 1990s, including stark documentation of the Sicilian mafia’s violent reign of tyranny, as well as more recent projects. The exhibition offers a unique opportunity to approach her genre-defining photographic practice (often linked to that of American ‘crime’ photographer Weegee) and reflect on the role of photography as an individual and collective means for taking action, bearing witness, providing evidence and documenting history.

Battaglia took up photography in the early 1970s, when she realised that, as a journalist, it was easier to place her articles in newspapers and magazines if these were accompanied by images. After a short period spent in Milan where she met her partner and collaborator Franco Zecchin, Letizia Battaglia returned to Sicily in 1974. After relocating to Palermo and regularly contributing to the daily L’Ora, she became the pictures editor until the newspaper was shut down in 1990.

Over the years, Battaglia has recorded her love/hate relationship to her home-country with (com)passion and dedication, often putting her life at risk. By alternating stark images of death, graphic violence and intimidation connected to the Mafia with poetic still-life photos and intense portraiture of children and women, Battaglia provides a textured and layered narrative of her country.

Letizia Battaglia worked on the front-line as a photo-reporter during one of the most tragic periods in contemporary Italian history, the so-called anni di piombo – or ‘the years of (flying) lead’, as they say in Italian. “[These were] eighteen years in which the ferocious Corleonesi mafia clan would claim the lives of governors, senior policemen, entire mafia families and two of Battaglia’s dearest friends: the anti-mafia judges Giovanni Falcone and Paolo Borsellino.” (Peter Jinks, The Observer, 4 March 2012).

The selected works on show at Open Eye Gallery illustrate this period and document Battaglia’s attempt to come to terms with that history and reconcile the love for her country with the memory of these dramatic events.

Over the last two decades, Battaglia has persevered in her struggle against the mafia, a fight that she has pursued not only by means of her photographic work, but also as a politician and public figure, a publisher and as a woman.

Image © Letizia Battaglia / courtesy Open Eye Gallery.

Open Eye Gallery