Visualizza Gallery
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Gabriel Moses • Photo Gallery
Team
Director: @gabrielomoses
Talent: Anthony Mmesoma Madu
Stylist: @gary_david_moore
Graphic design: @reidjamie
Dop: @jack_exton_
Set design: @andrewlimclarkson
Movement: @yagamoto
Editor: @j.tilla
Grade: @johnlowe.xyz
Score Composer: @jameswilliamblades
Violin: @olivermayocomposer
Cello: @jongibson_music
Production: @concretereplimited
Anthony wears VAARA
Anthony’s mother wears Bottega Veneta
Born through a vision he had during childhood, London-hailed director and photographer Gabriel Moses is doing things differently within the fashion realms. He’s an artist and advocate, first and foremost, and dabbles in different cultural references like ancestral documentary photography that inspired his creative foundations whilst growing up. In his infectious practice he wonderfully amalgamates soulful and bold imagery to create a truly unique, atmospheric gaze.
Moses’ technique—as, of all things, operates under a notion of intimacy—is a whirlwind visual and aural experience for you to muse on. In his photographs you can expect to see an abundance of gloomy tones and add to that some incredible experimental editing and deep palettes. Moses calls it “childish with a touch of naivety”. Besides, his newly launched teaser, Heavy Crowns—a prequel to the film Ijó, which will be premiered as part of his exhibition at 180 Strand with dates yet to be confirmed—acts as a window for a group of young ballet Dancers in Lagos, Nigeria, through a series of vignettes that explore themes of art, family and culture
Accompanying the film is an amazing set of still imagery, which show emotionally-charged, reflective moods dating back to the ideal of beauty of West African artists. He tells Vogue, “I'm a Black boy from South London and I carry that like a trophy. There’s plenty of kids like myself where I’m from, but I just feel like we haven't been the luckiest with opportunity and role models”, and this nicely mirrors the disposition of the beautifully captured visuals in his practice.
Below, Vogue spoke to Moses about his recent work, inspirations, and blazing his own trail for Black youth.
ON INSPIRATIONS
Right from early on, my inspirations came from images of my Grandparents and my Mother as a child, as they shaped my idea of what beauty was. I loved the high contrast black and white look of the images, and this falls primarily under what shaped my aesthetics and it was from there I then studied West African artists of the time, but mainly Malik Sidibe. My identity has always shaped my work, whether it’s a celebration of South London or my Nigerian Heritage, I had no formal training in either film or photography but the further I progress the more I'm wanting to bring through influences from my upbringing and community onto the entire world.
ON CREATIVE REFERENCES
As long as I’ve been doing this as part of my work, I’ve operated with this almost childish naivety where I try not to overthink a lot of things as I feel it almost makes you robotic. Moreover, I’ve learnt to trust my taste and instinct. When it comes to referencing, I go off the way imagery makes me feel and I break down what it is about it that triggers that feeling and these are the things that I work from. I firmly believe the work of Gordon Parks between the ‘40s and ‘70s always had this universal humanity that even resonates with a 22-year-old like myself today, and that’s the kind of work I appreciate. When working on this project I wanted to make sure my audience could connect with the imagery in a similar way. Then it was important for me to look into contemporary ballet and dance in general, the way it was shot and choreographed. Busby Berkeley used to create these kaleidoscopic shows using multiple dancers in order to create an image. I can say this is something I refer to a lot.
ON CONTEXT
Heavy Crowns acts as a prequel to my upcoming film titled “Ijó” which will be premiered as part of my exhibition at 180 Strand. Moreover, the prequel focuses on revealing the humanity in Anthony Mmesoma Madu and his mother, displaying the sacrifice and pride a mother takes in seeing her son blossom in front of her eyes into the exceptionally talented young dancer he is today. Then the longer piece, Ijó opens a visceral window into a group of young ballet Dancers in Lagos, Nigeria, through a series of vignettes that explore themes of art, family and culture. I thank God I was able to work with such talented kids, they were a proper pleasure to work with and I hope people continue to take notice of the levels coming out of the diaspora.
ON VIEWERS’ EXPECTATIONS
I wanted to successfully capture the texture of each scene and trigger the memories and feelings of the viewer and put them on the screen. These are all familiar details of our world just transferred into visceral images, the works are meant to be quite haunting but beautiful at the same time. I’m very blessed to have had such amazing collaborators throughout the process, such as Jamie Reid who’s played a massive role in my journey and art directed the project, my little brothers and sisters at Leap Of Dance Academy, Gary David-Moore who styled everything, James William Blades on the score, Joseph Taylor my editor & all the people who made this happen; Tony Longe, Dawa Thompson, Bex Williams, Charlene Prempeh, Lewis Dalton Gilbert, Ciesay my manager, Sean Bidder from the Vinyl Factory & Lindsay Cooper my agent. I'm a Black boy from South London and I carry that like a trophy. There’s plenty of kids like myself where I’m from, but I just feel like we haven't been the luckiest with opportunity and role models. Odds on, I plan on leaving the door open and that's why every achievement of mine is bigger than me.