William Sadowski

William Sadowski

Showing current work from the MA in solo show Surface Tension at 20 Park Crescent Place, Brighton, BN2 3HG.
12th - 27th September 2009
Tues - Fri 12-6pm
Sat / Sun 12-5pm

William Sadowski trained as an architect at the University of Brighton and worked as a freelance designer before undertaking postgraduate study in photography. His key areas of interest lie in the politics of the image, and in the relationship between public culture and private fantasy in the media, in design and in the built environment.
The nature of displaced iconography and its subsequent appropriation within society have become an important theme within the last years work. A particular emphasis in his investigation has been upon the placement and representation of trauma within contemporary visual culture.

Upon completion of the MA Sadowski will be conducting an investigation into the Olympic legacy as a model for social and urban development, a project which has kindly been funded by Santander-Abbey in conjunction with the University of Brighton.

I have been occupied with an investigation into how traumatic events or circumstances often come to the fore and become manifested in the wider social consciousness.

This project work started with the re-evaluation of imagery which had emerged in 2004 following the trial of guards accused of abuse at Abu Ghraib Prison, Iraq. Using holograms, I reduced the images to their basic component, an ephemeral outline that hovers on the edge of our collective consciousness. Following this work I went to the US in February to interview Lynndie England, one of the guards at the forefront of the military investigations of abuse at the prison. This interview material has been compiled into book form alongside other imagery of the American landscape.

The book also includes a selection of images from Pins. For this piece I have photographed military orientated lapel badges which are around the size of a two pence piece. In these pins, insignia and motto have been used to represent a complex heritage of violence and retribution in concise visual form. Displayed as large lightboxes, the pins have been enlarged to what I calculate to be 40 times their original size. At this scale, their preciousness as small jewel like objects is challenged by the exposure of their raggedness. The clean lines within the designs become jagged, the smooth colours blotchy. By blowing them up to this size, flaws are exposed that are lost in their original dimensions.