https://james-wilde.co.uk jameswildephoto Wed, 01 Apr 2026 13:01:44 +0000 https://james-wilde.co.uk en https://james-wilde.co.uk/Index Wed, 01 Apr 2026 13:01:44 +0000 jameswildephoto https://james-wilde.co.uk/Index https://james-wilde.co.uk/The-Collapse-Before-The-Fall Sat, 27 Jan 2024 09:03:45 +0000 jameswildephoto https://james-wilde.co.uk/The-Collapse-Before-The-Fall The Collapse Before The Fall Surfacing from a place of both fear and intrigue, this work focuses on autobiography, traces of personal failure and the photographic. Through distilling images, by reworking them through alternative processes, these photographs investigate the use of metaphor, the collapse of masculinity and the potential to overcome shame. Visibility is shifted and veiled, through the physical deterioration of the photograph and the slow death of the image. Subjects both pull out of the darkness and are lost within it.Moving between thoughts on the night, shame and the queer image, this research considers ideas of abjection, the fallen male figure and the apologetic. The notion of fixity has been crucial in terms of both the physicality of the works along with the concept of paralysis (or more so, the third stage of human decomposition; rigor mortis). The stiffening feeling of shame and Gershen Kaufman’s perception of shame being the ‘fear of self-exposure’ have resulted in this language echoing through to the darkroom. Solarisation has transformed some of these latent images (the process whereby the prints have exposure to light again), rendering a poetic analogy to marginal spaces, to being on the edge, being between states and the space of the night too.Experimenting with the body, the still-life and interior spaces the limitations of the photographic image are revealed. The possibility of failure is embedded in the process and becomes a driving force in the work. The photographs seek to harness an agency, where the self-reflexive nature of the work, uncovers a deeper analysis of shame through visual correspondence, scale and the play between private and public interaction. Photography here stands in as a visceral medium and suggests an exchange between the image and the observer. <img width="6000" height="6591" width_o="6000" height_o="6591" data-src="https://freight.cargo.site/t/original/i/456db91bc85d84acb608611a1b77bdd7239f2bcc8d95e67be5c671add1c7f239/Bloomberg2.jpg" data-mid="202936811" border="0" src="https://freight.cargo.site/w/1000/i/456db91bc85d84acb608611a1b77bdd7239f2bcc8d95e67be5c671add1c7f239/Bloomberg2.jpg" /><img width="1772" height="1299" width_o="1772" height_o="1299" data-src="https://freight.cargo.site/t/original/i/b25f267a21355ddd544700f628235c393b5913503973b388b92c2c7540243c63/JamesWilde_Butterflies.jpg" data-mid="202936820" border="0" src="https://freight.cargo.site/w/1000/i/b25f267a21355ddd544700f628235c393b5913503973b388b92c2c7540243c63/JamesWilde_Butterflies.jpg" /> <img width="3092" height="4000" width_o="3092" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b0e99170310cca5d5e8104bec85828f369c9bd4a506b956105ab68cb8de831d7/magnum-copy-2.jpg" data-mid="202936819" border="0" src="https://freight.cargo.site/w/1000/i/b0e99170310cca5d5e8104bec85828f369c9bd4a506b956105ab68cb8de831d7/magnum-copy-2.jpg" /><img width="2608" height="3259" width_o="2608" height_o="3259" data-src="https://freight.cargo.site/t/original/i/e8c9e7f1065321fadff7ac662d63f7b332416cc9f89c631295768931914c5c07/blackandwhiteeditburghley.jpg" data-mid="202936881" border="0" src="https://freight.cargo.site/w/1000/i/e8c9e7f1065321fadff7ac662d63f7b332416cc9f89c631295768931914c5c07/blackandwhiteeditburghley.jpg" /> <img width="3543" height="4390" width_o="3543" height_o="4390" data-src="https://freight.cargo.site/t/original/i/967f109bd13d0745627130d9efacc5e0b120f2249a6df52694ec87379a5cc81f/kettlesyard017mediumcopy.jpg" data-mid="202936825" border="0" src="https://freight.cargo.site/w/1000/i/967f109bd13d0745627130d9efacc5e0b120f2249a6df52694ec87379a5cc81f/kettlesyard017mediumcopy.jpg" /><img width="3600" height="4500" width_o="3600" height_o="4500" data-src="https://freight.cargo.site/t/original/i/0ac95d1ba8f7888e155d280c108c7622b7bce6c6782b098364c126ce6dbb7cee/Bloomberg4.jpg" data-mid="202936946" border="0" src="https://freight.cargo.site/w/1000/i/0ac95d1ba8f7888e155d280c108c7622b7bce6c6782b098364c126ce6dbb7cee/Bloomberg4.jpg" /> <img width="3750" height="3000" width_o="3750" height_o="3000" data-src="https://freight.cargo.site/t/original/i/b4cb8f09ceece7bb95a3cefcfcbbd0ba63ffed69e3f40d048f0c6698ce63b138/bwhydrangeagrayscale.jpg" data-mid="202936930" border="0" src="https://freight.cargo.site/w/1000/i/b4cb8f09ceece7bb95a3cefcfcbbd0ba63ffed69e3f40d048f0c6698ce63b138/bwhydrangeagrayscale.jpg" /><img width="2264" height="1500" width_o="2264" height_o="1500" data-src="https://freight.cargo.site/t/original/i/531fe2c756c23847700aaaf15947b03580fc8dc6552ea4e0fec6c2ab6d35f3f0/JamesWilde_TurnedBack2020.jpg" data-mid="202936956" border="0" src="https://freight.cargo.site/w/1000/i/531fe2c756c23847700aaaf15947b03580fc8dc6552ea4e0fec6c2ab6d35f3f0/JamesWilde_TurnedBack2020.jpg" /> <img width="4560" height="5700" width_o="4560" height_o="5700" data-src="https://freight.cargo.site/t/original/i/e7bcba121c8a00ce324599549a49679fc57fa9be96020e20cfcae2cec6a9411c/Bloomberg3.jpg" data-mid="202936882" border="0" src="https://freight.cargo.site/w/1000/i/e7bcba121c8a00ce324599549a49679fc57fa9be96020e20cfcae2cec6a9411c/Bloomberg3.jpg" /> <img width="5706" height="7206" width_o="5706" height_o="7206" data-src="https://freight.cargo.site/t/original/i/3eb73a3c9655914b44427a881d294b570ec3f94c50864f15f768319ef252fbcb/Bloomberg1.jpg" data-mid="202936913" border="0" src="https://freight.cargo.site/w/1000/i/3eb73a3c9655914b44427a881d294b570ec3f94c50864f15f768319ef252fbcb/Bloomberg1.jpg" /><img width="2953" height="1941" width_o="2953" height_o="1941" data-src="https://freight.cargo.site/t/original/i/d74325d708e524897d0c587c86bc0b59c08cafd7a2e4ef073df9fbc0bba76281/bwdoublenegative.jpg" data-mid="202936940" border="0" src="https://freight.cargo.site/w/1000/i/d74325d708e524897d0c587c86bc0b59c08cafd7a2e4ef073df9fbc0bba76281/bwdoublenegative.jpg" /><img width="2265" height="1941" width_o="2265" height_o="1941" data-src="https://freight.cargo.site/t/original/i/841cca36fddb35b3b9e8a318479e8eecbdd56913bfa5f691b9b74c15fe150b94/rootsbw.jpg" data-mid="202936938" border="0" src="https://freight.cargo.site/w/1000/i/841cca36fddb35b3b9e8a318479e8eecbdd56913bfa5f691b9b74c15fe150b94/rootsbw.jpg" /> https://james-wilde.co.uk/Left-Nav-1 Sat, 27 Jan 2024 09:03:49 +0000 jameswildephoto https://james-wilde.co.uk/Left-Nav-1 James Wilde Information Instagram EmailCV https://james-wilde.co.uk/Information-2 Sat, 27 Jan 2024 09:03:44 +0000 jameswildephoto https://james-wilde.co.uk/Information-2 Moving between the night, shame and the queer image, Wilde’s practice draws upon English histories as a way to materialise the effects of shame and rural queerness through photography, installation and writing. Looking closely at the photographic and its visual potential to enact a feeling of both melancholy and harmony, his work seeks to harness an agency, where a deeper analysis of shame is uncovered through visual correspondence, scale and the play between private and public interactions. Photography here stands in as a visceral medium and suggests an exchange between the image and the observer. Within his practice, he often works with the limitations of the medium, being pulled in by failure or chance, to then subsequently fall into these spaces of uncertainty. Rendering a poetic analogy to marginal spaces, being on the edge and the space of the night too. James Wilde is a visual artist working with photography, installation and writing. He holds a First Class BA (Hons) in Photography from London College of Communication and graduated from MA Photography at the Royal College of Art. He was selected for the British Journal of Photography, International Photography Award (Single Image Category) and in the same year was awarded the SW Darkroom Residency, which led to coordinating the RCA Photography programme show ‘with fists, it kicks, it bites’ at T.J Boulting, Edel Assanti and Webber Gallery. In 2021 he was involved with the publication Future Archive and has exhibited works at Photo London in New Discoveries (Somerset House) Cusp Gallery (Hangzhou, China) and The December Exhibition at Atelier NŌUA (Bodø, Norway). James Wilde is based in Kennington, London and holds QTS in Art &amp; Design from UCL. He has worked with the following schools, galleries, museums and organisations: Frieze Art Fair, Photo London, Serpentine Galleries, Somerset House, Studio Voltaire, V.O. Curations and Tate Modern. Royal College of Art, University of Arts London, School of Visual Arts, New York and University of New Mexico, USA. A detailed CV and full statements for individual series of works is available upon request.© All images and text copyright of James Wilde 2026. <img width="896" height="2055" width_o="896" height_o="2055" data-src="https://freight.cargo.site/t/original/i/f594a2b23af0f00230bc7e18cac87f190093a326e42f4a880d07cdfdb0784b58/headshots.jpeg" data-mid="203710340" border="0" src="https://freight.cargo.site/w/896/i/f594a2b23af0f00230bc7e18cac87f190093a326e42f4a880d07cdfdb0784b58/headshots.jpeg" /> https://james-wilde.co.uk/A-Jangling-Freshness Wed, 01 Apr 2026 10:52:57 +0000 jameswildephoto https://james-wilde.co.uk/A-Jangling-Freshness A Jangling Freshness Spring brings with it a lightness, though something softer sits alongside it, blurring at the edges. A hint of blue, maybe. Not quite melancholy, but close enough to feel it. That’s how it came together. Not fixed, not fully formed. Words don’t quite settle; they move, they shift. The feeling arrives first. The works gather gently, sounding something out together. Painting, sculpture and photography each circling intimacy in its own way. Closeness held with a certain distance. A sense of ease perhaps. Space enough for things to unfold slowly. There’s a certain residue of people, of interiors, of small legacies that linger. A trickle of hope runs through the work, though it carries something underneath it, an air of sorrow. It doesn’t settle but moves quietly through each room. A fragment stays with you. They feel lived-in, like a memory that hasn’t fully faded. Painting as a kind of room, a glimpse of an object previously overlooked or a photograph you can never forget. ‘A jangling freshness’ a phrase taken from Celia Paul, feels close to this. Not a definition, but a sensation. Something gently unsettled, lightly held. Works that don’t close themselves off, but remain open with harmony, shifting slightly as you move between them. The exhibition gathers around this atmosphere. Not a fixed meaning, but a shared sensitivity. A lightness, with something more reflective just beneath it. That’s all. James Wilde ⋆˙⟡ Exhibiting Artists: C. Mae Bloom, Bruno Diaz, Jame St Findlay, Diogo Gama, Henry Glover, Beatrice Hasell-Mccosh, I. Mills, Dominic Myatt, Emma Sheehy, James Wilde, Isabelle Young and Zou Willian. Private View: Thursday 9th April 5 - 8pm Exhibition Dates: Friday 10th - Sunday 12th April Opening Hours: 12 - 6pm daily Three Rooms 74 Beulah Road London E17 9LE www.threeroomseast.co.uk For price enquires of artworks, please contact James. jameswildestudio@gmail.com &nbsp; https://james-wilde.co.uk/Information-1 Fri, 08 May 2020 16:45:11 +0000 jameswildephoto https://james-wilde.co.uk/Information-1 Biography James Wilde is a visual artist working with photography, installation and text. He holds a First Class BA (Hons) in Photography from London College of Communication and recently graduated from MA Photography at the Royal College of Art. In 2020, he was selected for the British Journal of Photography, International Photography Award (Single Image Category) and in the same year organised&nbsp;Strange Halves an online student-led talk series which led to coordinating the 2020 RCA Photography programme physical show with fists, it kicks, it bites at T.J Boulting, Edel Assanti and Webber Gallery.&nbsp;In 2021 he was involved with the publication Future Archive and has exhibited works at&nbsp;Photo London&nbsp;in New Discoveries (Somerset House) and the December Exhibition at Atelier NŌUA (Bodø, Norway). Statement Surfacing from a place of fear and intrigue, this work focuses on autobiography, traces of personal failure and the photographic. Through distilling images, by reworking them through alternative processes, these photographs investigate the use of metaphor, the collapse of masculinity and the potential to overcome shame. Visibility is shifted and veiled, through the physical deterioration of the photograph and the slow death of the image. Subjects both pull out of the darkness and are lost within it. Moving between thoughts on the night, shame and the queer image, this research considers ideas of abjection, the fallen male figure and the apologetic. The notion of fixity has been crucial in terms of both the physicality of the works along with the concept of paralysis (or more so, the third stage of human decomposition; rigor mortis). The stiffening feeling of shame and Gershen Kaufman’s perception of shame being the ‘fear of self-exposure’ have resulted in this language echoing through to the darkroom. Solarisation has transformed some of these latent images (the process whereby the prints have exposure to light again), rendering a poetic analogy to marginal spaces, to being on the edge, being between states and the space of the night too. Experimenting with the body, the still-life and interior spaces the limitations of the photographic image are revealed. The possibility of failure embedded in the process and becomes a driving force in the work. The photographs seek to harness an agency, where the self-reflexive nature of the work, uncovers a deeper analysis of shame through visual correspondence, scale and the play between private and public interaction. Photography here stands in as a visceral medium and suggests an exchange between the image and the observer. Please contact for any sales enquiries. Click here for CV © All images and text copyright of James Wilde 2021.