Art - Adam Monaghan and Dale Devereux Barker

Lewes-based photographer Adam Monaghan builds narratives with photographs, to show the peculiarity of the world. “Each picture has its stand-alone value,” he says, “but it gains more meaning when it is juxtaposed against a different image.” There is enormous variety to his work. There are portraits and landscapes, studio set-ups and architectural pictures. Adam is responsible for this week’s cover image. “The campest toys in the world,” he laughs. “I didn’t doctor them at all. They were the Fisher Price toys I used to play with in the seventies. It was only much later I noticed their startling resemblance to the Village People. I set them out in the studio to make this more obvious.”
Adam plays with his audience’s preconceptions in other ways, too. Take the picture ‘After the Wedding’, of his partner, her face covered in mascara. “People find this quite an aggressive image. They see the sort of emotional content they are used to from Nan Goldin’s work. But actually my partner was just washing mascara off after the party.

“My work hopes to reflect how we view our surroundings and so it flits between prolonged concentration to a flippant glance, and from objective criticism to impassioned obsession,” he writes in his press release. His photos range from one of a dog turd with a union jack stuck in it (‘my protest against the Iraq war’) to a well-cropped section of the Bull Ring in Birmingham (‘cut out from the neighbouring buildings it’s a very drastic but stylish image’).

Adam Monaghan’s After the Wedding: ‘are you thinking Nan Goldin?
Think again’