"Success Stories: Elliott Wilcox" by Aline Smithson

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LENSCRATCH
Tuesday, July 19, 2011
Success Stories: Elliott Wilcox
Almost a year ago to the day, I wrote a post about Elliott Wilcox's wonderful images of squash courts
in England. A few weeks ago, I wandered into the DNJ Gallery in Santa Monica and felt like I was
visiting with old friends. It was great to see the large scale images in person, and the prints felt much
more painterly and significant than the small jpgs where I first saw his work. Annie Seaton, the DNJ
Associate Gallery Director, shared with me the many successes that Elliott has garnered over the
last year.
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Elliott is a London based, British photographer. He graduated from the University of Wales, Newport
with a BA in Photographic Art in 2008 and the University of Westminster, MA Photographic Studies
last year. He has been the recipient of several awards including a Judges Award at the Nikon
Discovery Awards and a New York Photo Award. Elliott recently won a prestigious Lucie Award for
the Discovery of the Year at the International Photography Awards.
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Elliott has exhibited internationally and in the UK, his first major series 'Courts' was part of the show
‘PRUNE – Abstracting Reality’ at FOAM Gallery Amsterdam with guest curator Kathy Ryan, editor of
the New York Times Magazine. He was also part of the BBC’s documentary series – School of
Saatchi. His art work beat thousands of emerging art talents to the top ten artists involved in the
show.
Elliott had solo exhibitions of 'Courts' at the Bau-Xi Photo Gallery Toronto, Canada in January 2011
and the dnj Gallery Los Angeles, USA in April 2011.
COURTS: This work examines representations of the enclosed spaces of sports courts. In
photographing the empty courts, absent of the fast paced action we are so familiar with, these
environments reveal themselves in a new light.The camera shows details that the viewer can see
closely, revealing many subtleties that usually go unnoticed. The vivid stains, ball marks, blood and
scratches force the viewer to focus on these details rather than just the court.
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The courts have one single use, a ball game, with all their complicated rules and regulations. These
normally sub conscious spaces become alive. Much like a gallery space is missed to the artwork, the
space of these courts is missed to the sport. These large format images are slow and deliberate.
The non-judgemental image creates an experience to explore, a path to revealing the unnoticed and
exposing the unexposed, consequently romanticising the courts.
Seven at Finch & Ada
Congratulations on all your successes! The past two years have been quite spectacular—
shows on both continents, awards, and Saatchi’s art-reality TV show. But let’s start at the
beginning. Where did you grow up and what drew you to photography?
Thank you for your very kind comments.
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I grew up on the South coast of England in a small market town called Ringwood. My Father is a
professional sports photographer so I guess you could say I grew up surrounded by photography.
We used to have a small darkroom on the side of our house which I would sometimes be allowed to
play around in and make shadow prints when I was small.
Even from a young age I was intrigued by my Fathers profession and, despite being miles apart in
approach, both our photography revolves around sport. So perhaps I absorbed a love for the subject
subconsciously.
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Am I correct in thinking that you created Courts as a student? How did you come to create the
project?
That’s right. I started Courts as a photography student at the University of Wales, Newport but
continued to develop the project as I matured as an artist and image-maker.
Invite your friends
The concept behind Courts was to create a project initially looking at space but specifically spaces
that people chose to encounter, visit and inhabit.
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Can you tell us about these courts in particular?
The 2011 Summer Exhibition
When you remove the one singular purpose 'the game' from these courts you are left with something
very odd but intriguing. Much like a gallery space is missed to the artwork, the space of these courts
is missed to the sport. These normally subconscious spaces become alive.
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I was struck by how similar the marks from the balls are to brush strokes, and how much it
enriches the work to see evidence of time and human interaction with the space—did you feel
this when making the work?
Yes. Each court has it's own individual characteristics and historical background, some more than
others. There is an overwhelming sense of time and human trace enriched in these prestigious
environments. This was an integral part of my image-making process.
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Did you have any idea where Courts would take you? Were you prepared for all the amazing
opportunities and recognition that was (and is) coming your way?
I don’t think you can ever really prepare for what the future has in store. I genuinely try to take each
day as it comes and am extremely grateful for any recognition. I just love honest image-making and
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You are currently persuing your MFA—how do you balance current success and making new
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Planning and a hell of a lot of to-do lists. I love to keep busy with lots of different projects but I try to
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at 5:06 AM Posted by Aline
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I saw these on IPA and I thought they were great. So lovely to hear about success
stories.
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this post got really good.
July 19, 2011 10:10 AM
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Terri Gold
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Tim Hetherington
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Tim Simmons
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Toby Morris
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Toiya Black
Tom Chambers
Tom Chambers
Tom Chambers
Tom Feiler
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Tom M. Johnson
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Tony Mendoza
Tracy Baran
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Vee Spears
Vee Spears
Verner Soler
Verner Soler
Verner Soler
Vicky Slater
Virgilio Ferreira
Virgilio Ferreira
Vivian Maier
Vivian Maier
Walker Pickering
Walker Pickering
Walter Martin and Paloma
Munoz
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Whitney Hubbs
William Head
William Mebane
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William Wylie
Yaakov Israel
Yann Gross
Yao Lu
Yeondoo Yung
Yoichi Nagata
Your Personal Favorites of
2009
Your Personal Favorites of
2010
Yvette Marie Dostatni
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Zoran Milosavljevic
ToBernd /YourHilla
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