In the quiet corners of Sheffield, amidst the hum of a bustling household and the echoes of a community gym, Sam Wright found the seeds of his introspective journey into photography. A humble observer with a passionate eye, Sam transforms the beauty of everyday life into cinematic narratives that resonate with the souls and spirits of his subjects. His work is a delicate dance between melancholy and hope, capturing intimate moments that unveil the raw humanity within us all.
From documenting the gritty DIY punk gigs of his hometown to immersing himself in the vibrant tapestry of Traveller and Gypsy communities, Sam became not just a photographer but a photographic historian a record keeper of cultures on the cusp of change. His award-winning series, Pillar to Post, stands as a testament to his commitment to portraying the resilient spirit of marginalised communities with authenticity and depth.
Influenced heavily by cinematic techniques, Sam's imagery blurs the lines between still photography and motion picture, each frame a story unto itself. His lens doesn't just capture images; it immerses us in narratives that prompt introspection and challenge preconceived notions.
In our conversation, we delve into the ethos that drives his work, the humble beginnings that shaped his worldview, and his relentless pursuit to find the extraordinary within the ordinary. We explore the intimate layers of Sam Wright's journey. He also mentions, “We have a launch night in London at the photobook Cafe on the 29th of October and one on the 1st of November at Village books in Manchester. I’m very excited to share the work. It’s an open invite if anyone wants to come down.”
Could you tell us a little bit about your childhood and what it was like growing up?
I grew up in Sheffield and I am one of 3 kids. The house was always a super busy place. My mum was super sociable so there were always people coming and going to and from the house so there was always a lively atmosphere growing up. In a way I think this has shaped my apt to talk to strangers and influenced my photographic process.
What is your earliest memory of photography? Did you have any early experiences that influenced your journey into photography?
My uncle is a photographer, and I remember trips to his studio in Manchester being super inspiring and I was intrigued by the craft from an early age. I always loved art and creativity but wasn’t a great drawer or painter which were the options at school, so it was cool to see a different creative path through photography.
I also boxed at a gym ran by Brendan Ingle as a young kid, he ran his gym as a place to box but also as place to learn about community. Underpinning the whole gym was the ethos that we’re all the same no matter what race, gender, colour or creed you were from. This was pivotal in how I learned to see the world and has been a big influence on my approach to photographing people and communities.
I also boxed at a gym ran by Brendan Ingle as a young kid, he ran his gym as a place to box but also as place to learn about community. Underpinning the whole gym was the ethos that we’re all the same no matter what race, gender, colour or creed you were from. This was pivotal in how I learned to see the world and has been a big influence on my approach to photographing people and communities.
You started documenting DIY punk gigs in your hometown, Sheffield. How did that gritty grassroots counterculture scene influence your photographic style and approach to capturing raw, authentic moments?
This is where I started out but I wouldn’t say that punk necessarily influenced my work aesthetically but there was a huge focus on DIY ethos throughout the Sheffield punk scene at the time, which was hugely influential. I was also drawn to photographing the people who were part of creating the community. It felt like a very exciting thing to be part of and something that I’m lucky to have experienced.
What role does immersion play in your process of capturing the essence of a particular place, culture, or community?
In my view I have found that my best work is made when I'm photographing something that I am genuinely interested in, to the point where it becomes a bit of an obsession. For me this helps me totally immerse myself into the thing I am shooting and blurs the lines between photography and my own life.
Your projects blur the line between photography and cinema. Are there any filmmaking techniques that have influenced you?
I would say my work is hugely influenced by cinema, from aesthetic choices to the act of storytelling. I always want my photos to feel like they are part of a bigger story and contain a split second from a bigger narrative almost like a film still. On the other side I always want my films to have a photographic quality, again where you could pause any frame and take a great still from it. I spend a lot of time on film and TV sets watching great directors and DOP’s work, so I have adopted some of their lighting techniques as well as how to work with talent. Moving into making my own films has been a great transition allowing the two worlds to collide.
How would you describe your unique style or approach to photography?
My approach to photography comes from an inquisitiveness and excitement to meet new people, to try to tell their story in a cinematic way and create bodies of work that are visually exciting. This is the foundation to my work. One of my aims as a photographer is to provide work that acts as a starting point for their own thoughts, to prompt their own narratives and exist beyond a pretty picture.
Your Pillar to Post series recently was chosen as the first prize winner at the Revela’t Festival in Spain. What did this achievement mean to you both personally and professionally?
This was huge for me, Pillar to Post was made to not only be a photographic series but also to hopefully live as a moment in history and a form of media that can counteract some of the harsh and prejudiced media that has been put out of the Traveller and Gypsy communities. Getting a larger platform to show the work was always the end goal. It was also super nice as a photographer to get the validation and respect for the work because you spend so much time working on a project. It is hard to separate yourself from the work so getting validation from outside your own circle is always reassuring that the project is working. I now want to take the work out from the white cube and try and show the work within the communities that feature in the project.
What’s been your major career highlight so far?
I think shooting Pillar to Post and having it recently made into a book with GOST is up there with my career highlights. One of the images was also selected to be part of this year’s Taylor Wessing portrait prize which I’m super chuffed about.
For Pillar to Post, you went to the Appleby Horse Fair in Cumbria, the largest Traveller and Gypsy gathering in Europe. What was the central theme or narrative you intended to explore?
Initially I just wanted to go there to learn more about the Traveller and Gypsy communities and to also make great portraits and create a film. What I found there was how wrongly the community is portrayed and felt a responsibility to try and create a more honest and true representation of the people behind the community.
You mentioned that Pilar to Post particularly struck a chord with you. You started a Kickstarter campaign to help finish production on this project. Has it been frustrating to get this project, which is very close to your heart, funded?
There have been moments that have been quite tough in terms of funding. I initially applied for arts council funding which was a lengthy process and turned out to be unsuccessful. Photography and arts are full of these moments of rejections that it does become a normal process and one of the payoffs to having such a fun job. It's important to remember that one person's or organisation’s view shouldn’t put you off reaching your own goals too and there are other options to getting your work seen.
When will it finally see the light of day?
The book is ready! We have a launch night in London at the photobook Cafe on the 29th of October and one on the 1st of November at Village books in Manchester. I’m very excited to share the work. It’s an open invite if anyone wants to come down.
What are some of the most meaningful personal stories or connections you’ve established through your projects?
There was a big part of the project that consisted of me going out with a sound recorder and conducting interviews with the community. These really opened my eyes to the experiences that Travellers and Gypsies face and helped me to understand more about the community.
In your description of Pillar to Post, you portrayed it as a documentation of the vibrant and resilient Traveler and Gypsy communities across the UK and Ireland. Throughout history, humans have been fascinated with various aspects of life. In that regard, do you view your work not only as that of a storyteller but also as that of a historian and a record keeper?
That is a great question, and I never really saw myself as a record keeper or historian until doing this project but from what I have seen, it seems like the Traveller and Gypsy way of life is at a real crossroads due to the rapid changes in the world, their traditional nomadic way of living is becoming harder. So in response to your question, it does feel like this work that I am creating now has a record keeping value to it.
Looking ahead, what kinds of stories or perspectives do you hope to explore through your work in the future?
Pillar to Post has felt like a big step for me photographically and I have felt so much more connection and meaning by creating work that has a deeper narrative and historical relevance. I would love to create more work like this in the future.
