Interview: Photo London Director Sophie Parker
THE WICK: Talk us through a typical Monday.
Sophie Parker: A typical Monday starts with coffee (I’m often lucky enough to have my first cup brought to me in bed), and walking my miniature bull terrier, Ray. Mondays are a working from home day, giving me the opportunity to catch up on admin, emails, and research. I meet online with the founders of Photo London, Michael Benson and Fariba Farshad, and discuss the week ahead. I love starting the week in my own space, at my own desk. I coveted a Vitsoe shelving system for years and it was the first thing my partner and I bought when we moved into our flat. My desk is built into the shelves, and it makes me so happy working surrounded by my books, and pictures and objects that I love. Ray sleeps in his bed next to me. A Maisie Cousins AI piece is hung just to the left of my laptop screen, and it brings me such joy every time I look at it. Once I sit down, I pretty much don’t move from my desk for the rest of the day.
TW: This is your first year as Director of Photo London. What are you most looking forward to seeing at the 2025 edition of the fair?
SP: There is so much I am looking forward to seeing this year at Photo London, I spend so much time looking at fantastic artworks submitted by galleries on my computer and finally getting to see them in person is always a joy, even works that I feel I have got to know and love virtually can take me by surprise when I see them in the flesh. I’m expecting big things from Robin Hunter Blake’s silver gelatin prints exhibited with Guerin Projects and Adam Jepessen’s new works with Bendana Pinel. I’m looking forward to seeing the return of Tania Franco Klein, an early recipient of our Emerging Photographer Award, with Rose Gallery and Kathy Shorr’s work with David Hill. Discovery is always exciting and our expanded version of ‘positions’ , a section dedicated to unrepresented artists, curated by Maria Sukkar, is going to be very special. I could go on and on, the list is very long…
TW: Photo London celebrates a landmark tenth edition at Somerset House this year. Why do you think photography has such an enduring impact in London and other cities?
SP: London is a city open to experimentation and creativity, we love our classics, but we also have an energy that thrives off something a little unusual. Collectors here want to embrace a wide range of voices and perspectives by artists from all over the world and photography can be such an accessible medium for artists to use to create, as well for people to be able to collect.
TW: You are on the Advisory Board for The Ian Parry Photojournalism Grant. Which emerging photographer is on your radar?
SP: Lindsay Perryman’s work is beautiful. Palm Studios, who are showing Lindsay in Discovery, have a fantastic eye for future talent. Discovery at Photo London, curated by the brilliant Charlotte Jansen, is the place to see the best emerging talent, both in terms of artists and gallerists, in one condensed space. However, galleries throughout the fair will exhibit younger artists and it’s always worth keeping an eye on our Emerging Photographer award shortlist to nicely lead you through the fair.
“London is a city open to experimentation and creativity, we love our classics, but we also have an energy that thrives off something a little unusual.”
TW: If you could add any photograph to your own collection, what would it be?
SP: Carrie Mae Weems, Painting the Town #2, 2021. I think about that flick of turquoise paint often.
TW: Looking through the lens. If you turned photographer for the day, what or who would you be shooting?
SP:
I take hundreds of photos of my dog each day which he seems to hate. My photography would most likely be something that blurs the lines between art, anthropology, and documentary – something that blends my background and interests.
TW: This year at Photo London there is a special exhibition, London Lives, which presents creative responses to the capital. What is your favourite Culturally Curious spot in London?
SP: I love East London for creativity, it’s full of fantastic galleries working in really interesting ways. Autograph, Doyle Wham, and 1014 gallery are probably the galleries I frequent most often, all have brilliant programmes and often present me with new discoveries. 1014 and Doyle Wham show more emerging artists, while Autograph, more established artists, but all always leave me inspired. I also used to love going to T.J Boulting gallery, before it recently closed.
TW: You’ve spoken at the Working Arts Club about your own experiences entering the art world from a working-class background. In your view, what are the ways we could make the contemporary art world more inclusive?
SP: I could talk for hours just about this question. What’s great about the Working Arts Club is it’s for people working in the arts, and I’m so grateful to Meg Molloy for founding such an organisation that feels like a community. While galleries do still need to do more to be more inclusive across the board, it can feel like they are more willing to champion artists from lower socio-economic backgrounds than work alongside people from the same background. Galleries expect employees to look and sound a certain way, to have an existing network and for that network to have access to wealth. It’s not just about galleries being more open to hiring people from different backgrounds, it’s also ensuring that those employees feel supported, understood and encouraged. Entry level jobs need to pay a wage that can allow people to support themselves and not have to rely on others to be able to survive. Galleries also need to feel welcoming to all visitors and engage with them in a way that is open and meaningful. Photography is a medium that is more accessible, and I want everyone to feel welcome at Photo London and comfortable to ask questions, and ask for the prices too.
TW: What are your go-to brands or designers to wear for Photo London in May?
SP: I love wearing any artist’s t-shirts made by New Dimensions and suits are my go-to. I recently discovered Hungarian brand Aeron for suiting when I was asked to be part of a special shoot featuring on women in photography. I’m mainly all about the accessories – lots of Tessa Metcalf rings, layers of necklaces including my bespoke Tilly Sudsbury chain and acrylic nails. Pretty Little Nails on Roman Road are responsible for the creations I wear, the couple of hours I spend with them is the only time I ever manage to fully switch off.
TW: Outside of the fair, which photography exhibition do you recommend seeing in London right now?
SP: There are always so many fantastic shows to see in London. Recent favourites are Linder and Mickalene Thomas at Hayward Gallery both covering serious and moving subjects but there is an overriding sense of joy and humour across both. Eileen Perrier’s first retrospective in 30 years and a series of self-portraiture by Dianne Minnicucci at Autograph are two great free shows. Minnicucci explores her discomfort of being in front of the camera and what it means to be the subject of a photograph as a black woman. FIGURE-GROUND, a group show at AB-Anbar, is a beautiful and important show, it’s a fantastic example of the variety of ways artists can work with photography and film. I’m thrilled they’re going to be bringing some of their incredible roster of artists to Photo London.
TW: What is the image or artwork that has touched your life or work in the most enduring way?
SP:
Cornelia Parker’s Cold Dark Matter taught me what art could be.
