10 Questions with Artist Name

Al-Tiba9 Art Magazine ISSUE16
Featured Cover Artist

William Josephs Radford, a Spanish-born fine art photographer, challenges conventional thought processes through his striking compositions and thought-provoking subject matters. Born on August 23, 1998, in rural Andalucía, Spain, Radford's upbringing amidst the raw countryside instilled in him a deep appreciation for natural beauty and a keen artistic sensibility. His journey into photography began at the age of 15 when he acquired his first camera, sparking a fascination that would shape his artistic vision. After completing formal education in fine art photography at the University of Gloucestershire, Radford emerged as a trailblazing contemporary artist, drawing inspiration from avant-garde movements and pioneering experimental techniques in his work.

Renowned for his striking compositions and thought-provoking subject matters, Radford's photography delves into controversial themes such as sex, religion, gender, and identity. His commitment to authenticity and experimentation is evident in his approach, often utilizing techniques like intentional camera movement, light painting, and lens masking to convey complex emotions and altered perceptions. Through his captivating imagery, Radford aims to challenge viewers to contemplate these subjects from new perspectives, sparking meaningful conversations and fostering deeper connections with his audience.

josephsradford.com | @josephsradford

Cherry Blossom | Project Statement

Cherry Blossom delves into the theme of burnout by merging the delicate elegance of flowers with the harshness of smoking. The series captures blossoms in an eerie blue light, each holding a glowing cigarette, where the red ember meets the petals. This stark contrast symbolizes the fragile beauty of life amidst the grind of exhaustion.

AL-TIBA9 ART MAGAZINE ISSUE16

INTERVIEW

Welcome back to Al-Tiba9, William. This is your first interview with us after being featured in the magazine twice before. What have you been up to recently?

Thanks for having me, it's a pleasure to be featured! Recently, a lot of my attention has been placed on my physical well-being and looking after myself as a whole. In terms of my career, I have spent most of my time working on my first photography book. Just released last month, it's something I am extremely proud of and have poured my heart and soul into.

Please introduce yourself to our readers in case of any first-timers. Who are you and how did you develop into the artist you are today?

My name is William Josephs Radford, and I am a photographer who enjoys the minutiae of sparking a reaction through my work.
In a Jekyll and Hyde fashion, my art embodies the very qualities I avoid in my daily life. While I navigate my day-to-day existence in a polite and people-pleasing manner, my art takes on a life of its own—bold, confrontational, and unapologetically provocative.
Born into an English family in Spain, I faced the challenge of navigating two languages, which was troublesome at times. During my school years, I found it hard to communicate effectively in Spanish and often chose not to speak unless it was absolutely necessary. This led me to turn to drawing as a means of expression.
Over time, my passion for creating images evolved into photography, where I felt my dual perspective on life was an advantage. In my photography, I strive to present a dichotomy: images that appear inoffensive on the surface yet provoke thought when examined more closely.

Nature, especially flowers, plays a significant role in your art. Can you tell us about your upbringing in rural Andalucía and how it influenced your artistic sensibilities and appreciation for natural beauty?

Growing up in Andalucía was highly rewarding, and I am extremely grateful to have experienced the rich and exciting childhood that I had!
I couldn't tell you why I am so drawn to flowers. I partly think it's because I like to stir a reaction while also recognizing that I'd like my art to hold aesthetic value and be saleable. So, using flowers to convey some of these messages feels like a reasonable compromise.

Your work explores controversial themes like sex, religion, gender, and identity. What drives you to tackle these subjects, and how do you approach them in your creative process?

For as long as I can remember, it's been these types of artworks that have really captured my attention. I have always had a deep appreciation for pieces that push boundaries. So, this is something I strive to incorporate into my own work.
I use a lot of signs and symbols to wrestle with these ideas and engage with them visually, often juxtaposing or blending semiotics to narrate a story. Color also plays a significant role, helping to convey a variety of textures and emotions.
By approaching sensitive topics in this manner, my primary goal is not to dictate or present my opinion on the issue but rather to create an image that allows viewers to contemplate the topic through their own perspective.

You employ various experimental techniques in your photography, such as intentional camera movement and light painting. Can you explain how you developed these techniques and integrated them into your work?

These are some of the techniques I have adopted over time, with ICM being one of the most recent and light painting one of the oldest. My belief is that different techniques serve to convey different emotions, so every technique I learn is like figuring out how to speak a new language.
ICM, for example, came about at a time of low lucidity and escapism, a period where I didn't feel very present and spent a lot of time either drunk or high. The blurry images with some parts in focus or slight details imprinted served as a perfect canvas for these feelings.
Once I have somewhat mastered a technique, it is then in my arsenal to pull out whenever I want to express something in particular. Back to the language analogy, it's like not having the right words in your native language but knowing there is an exact word for that feeling in another language.

Let's talk about your latest series, Cherry Blossom. It combines the delicate elegance of flowers with the harshness of smoking to explore burnout. What inspired this unique juxtaposition, and what message do you aim to convey through this series?

Originally, I used the idea for a music video I made for my sister and was disappointed I never took any stills. The idea came back to me when I was leading an unsustainable lifestyle, which is when I decided to act on bringing it to life.
It's no secret that artists don't tend to make much money early on in their careers, hence the starving artist trope. Well, I fit into that category very well and have to work part-time as a waiter to make ends meet. So, partly, it's about the late shifts and crazy routine I had, going to bed at 6 AM most days. On the other hand, I was desperate to transition from waiting tables to pursuing my art, which meant putting in extra time and money into my practice. Eventually, this led to burning the candle at both ends and almost experiencing burnout.
I'm pleased to inform you, though, that the project actually served as a form of therapy in a strange way. I quit that lifestyle almost shortly after completing it and am happy to say that I'm getting a lot more sunlight nowadays.

The series captures blossoms in an eerie blue light, enhancing the contrast between beauty and decay. How did you achieve this specific lighting effect, and what significance does it hold in the context of the theme?

I find nighttime can be quite monotone, which mirrors the period when I was awake the most. Images of street lights on a dark night come to mind now, though I never imagined them when I conceived the works. It's difficult to express the sadness inherent in monotony, but I felt it was a necessary canvas to start from.
The effect was created through light painting. This involves setting the camera on a tripod in complete darkness, using bulb mode. I light the cigarette, then open the camera shutter to start the exposure. Using my phone screen, I cast a blue light over the subject. Once satisfied with the coverage, I close the shutter and put out the cigarette.
One of the biggest challenges was setting up each scene without using any glue for the cigarettes. Sometimes it took me an hour just to find the right balance while maintaining the illusion that the flower is smoking. Most flowers have an obvious mouth and angle from which they should be captured, but others were more challenging. The orchid, in particular, was highly cooperative in this process and seemed to clasp the cigarette in its throat almost immediately.

Each photograph in "Cherry Blossom" features a glowing cigarette against the petals of the flowers. How do you see this imagery symbolizing the concept of burnout and the fragile balance between vitality and decay, as you mention in your statement?

I find it difficult to view these symbols without eventually thinking about decay. What screams decay more: the wilting flowers in your living room or the burning cigarette hanging from your lip? Both of them hurtling towards their inevitable demise. We all strive to maintain youthfulness and vitality for as long as possible, yet we often succumb to guilty pleasures. So where do you draw the line?
I had wanted to include wisps of smoke in the composition as well to heighten the imagery and fully embody the idea of impermanence. However, due to the long exposures and the nature of the lighting technique, this effect is not visible in the final results. Some images have very faint hints of where the smoke trailed, but I am strongly opposed to using Photoshop or altering my images, so I chose not to add the effect in post-production.

As an artist constantly pushing the boundaries of fine art photography, what themes or concepts are you excited to explore in your future projects?

Recently, I've been pressing my phone camera up to car windows and capturing pictures of the interiors. It's like taking a portrait of someone without ever meeting them. I've been eager to work on a project using my phone, as it's always with me and fits perfectly flat against the car window (unlike a DSLR camera with a protruding lens).
I look very strange walking down the street, peering inside all the car windows and taking pictures. However, it still doesn't feel risqué enough. Plus, here in the UK, most people's cars are sickeningly boring inside! Only occasionally will I pass something that catches my attention, so I feel like this may be more of a long-term project.
The other series I have in mind involves flashing, and I don't want to give away any more than that (for fear of someone stealing the idea). However, I have everything ready to start, so maybe in our next encounter, I'll be able to tell you more about it.

Lastly, can you share any upcoming projects or collaborations you're working on and what audiences can expect from your future work?

I have recently published my first photography book titled 'Character Building'. This book explores the environment that shaped my childhood, specifically the house I grew up in. Using color flash gels, the project captures a beautiful, dreamlike quality reminiscent of childhood memories. Creating this book has been one of the most fulfilling experiences of my career so far, a true passion project.
Additionally, I'm excited about an upcoming exhibition. It will be open to the public throughout July 2025 at the Mediterranean House of Photography in Barcelona. What a great year it has been already, and I am incredibly grateful to have these opportunities.
Looking ahead, I aspire to support myself exclusively through my artistic practice, enabling larger and more ambitious projects.