We find out in a new book from the London-based photographer and creative
For those who haven’t yet had the pleasure of getting lost in one of Henry Gorse’s images, then let me tell you this: Gorse’s work is an intentional maze that cannot be pigeonholed. While his work can indeed be pegged as photography – capturing people, places and fashion through his signature surrealist lens – it also doesn’t really have a label, and stretches far beyond the frame pinpointed by his camera. Pouring his wild imagination into colourful, magical scenes filled with objects, models and street-casted individuals, all laced with his cheeky wit and irreverence, Gorse embodies the role of photographer, art director and rule-breaker, out to defy the limits of one medium. So when I pose the inevitable question, ‘Who the fuck is Henry Gorse’? he aptly replies in third person. “Henry is a mix of absurdity with a splash of humour and a wink at the ridiculousness of it all. Henry has a lot of ideas!”
In this nearly 400-page book, titled Who the Fuck is Henry Gorse?!, Gorse collaborated with designers Alfie Allen and Max Marshall, editor James Ross and writer Eugenie Shinkle to bring the project to fruition and to ultimately answer this imperative question. Inside, you can expect to find a mashup of visuals, DIY motifs, punk and chaotic iconography from the 90s and early 2000s and, of course, snapshots of Gorse’s career over the past decade. He’s worked with brands such as Selfridges and Fendi, and has released projects documenting communities and youth culture – Grange Farm is a personal favourite. Importantly, there’s no white space left in this publication. Between Gorse’s trashy and ever-so stylish photography, every gap is filled with something suitably chaotic: playful typography made from paint and ripped colourful paper, zigzag graphics, flower cut-outs, banana skins, AI experimentations and the checkerboard from Snakes and Ladders. Only in this game, the rules have been swapped with a step-by-step guide on how to set up the perfect lighting job.
Going beyond a portfolio, the publication merges elements from a photo book, fashion magazine and an experimental creative project, demonstrating Gorse’s long-standing fusion between the mediums and his addictively dizzying style. “My photographs are fun and playful, allowing a journey into devil-may-care escapades that are balanced to build my own colour-soaked photographic adventures,” he says. “We can scroll on our phones for hours. I would like to think that within that endless scrolling, I can make photographs that make you stop.”
When a creative reaches a certain point in their career, a natural progression or sensible ‘thing’ to do is to compile it into an archive of some sorts. And that’s technically what this book is all about. “I came to the conclusion that my work needed its own space,” says Gorse. “I felt like I’ve been capturing the same kind of images since I began, so it made sense to see everything together in one context. This was never about editing it down or focusing on one aspect to gain commercial recognition; the entire journey is an exploration of the self. I had to create my own book to let it exist as it’s meant to be seen – a way to invite people into a unique world.”
During the process, the team worked intuitively and built the concept up “subconsciously” until it took shape – the same way Gorse creates his imagery. The team began with prints scattered on their living room floors, before progressing to a shared office space between Alfie and Max, and eventually a new studio space which is where the publication was completed. As for the graphics, Gorse scribbled down notes and kept folders filled with references that he resonated with, while his collaboration with Allen was particularly synergistic. “I knew Alfie was ideal for this project because he understands my work very well – he even commissioned my first covers in 2011,” says Gorse. Not to mention the fact that Allen’s maximalist approach to design pairs exceptionally well with the carnivalesque nature of Gorse’s work. The book is a wonderful collision of three rebellious minds, structured into chapters divided by question marks, garish graphics, still-life images, a mix of portfolio pieces and new material made exclusively for the book.
But while I try my best to describe this creative powerhouse’s vision – and I do hope that I’ve done it justice – perhaps the more sensicle method is to hear from Gorse himself. Below, Gorse has picked out a selection of spreads from the book and given us the low-down on the project, his process, some significant memories and stories behind the work, and how the team put this magnificent feat together.
The Aura Reading
“I went to get a 25-page aura photo reading near Liverpool Street, and to my surprise, it highlighted almost all of my strengths and weaknesses. Sankar even mentioned that I had psychic potential. The photograph was taken using an aura camera connected to a laptop, with my hand placed on a metal sensor to collect the data. I convinced him to let me do my aura photo with a banana on my head – after assuring him I was completely serious about the experience.”
Public Interactions
“A big part of my work over the years has been about spontaneously engaging with the public. These encounters are often coincidental, yet they lead to uplifting moments shaped by the individual’s identity or our unique interaction. Sometimes, I bring props in my kit bag or use what’s available on-site; these props often align serendipitously with the situation, creating a feeling that it was meant to be.”
Damaged Negatives
“In my old flat, some of my negatives were damaged due to a leaky floor. After inspecting most of the film, I found nearly all of it was too damaged – except for two 35mm negatives that had merged into a single photograph. One image was of my brother eating Christmas dinner, and the other was of the London Eye, which happened to replace his head, surrounded by vibrant, euphoric film bleeds. We all loved the result, so it became the book’s back cover – a rare, one-time moment that came together naturally and would be difficult to recreate or even imagine.”
AI Experiments
“When we started working on the book nearly two years ago, AI was just beginning to become more refined and find its place in mainstream media. I loved the immediacy of its response to creative ideas and began creating AI images, treating them much like I would my own photographs. We decided that including an AI chapter would be not only fun but also a way to mark this moment in time – a glimpse into the future following a 380-page photographic journey.”
Farmyard Beginnings
“In my teens, while working on a local dairy farm close to my parent’s house, I began to develop what would become my signature style. I was taught to be adaptable and use what was around me to fix problems. One of the best examples of this was pulling down an existing cow shed with forks and chains attached to a tractor, to then build a new one all by ourselves. If machinery broke down, we would search for other parts on old tractors scattered around the farm. If a wall was knocked down, we would build it back up ourselves with what we had. Basically, we thought on our feet in the moment. This had a big subconscious impact on my photography, as I can treat any environment like the farm and turn it into my playground by using objects I find around the space, repurposing and interacting with a free-flowing mindset. Being limited in a situation actually became a blessing, as that’s when the identity of my style started to evolve. This could look really bad, but I was going to make it look great.”
Bananas in Blossom
“There is a scene I would love to explain to you. Walking through a public park I found a large pink blossom tree on an ideal sunny afternoon. Having investigated the location, I began to hang bunches of bananas into the blossom tree as if they were the tree’s fruit themselves, with the pinks and yellows glistening in the sunlight. I made the picture I imagined then took a step back. Families and couples started to gather around the tree and one person ran over in amazement to only be embarrassed they weren’t real. As I walked off into the distance, I could see crowds of people gathering around the tree, investigating this bizarre visual occurrence. Now, the point of my story is that moment only happened because of my desire to create a photograph. The public was surprised and questioned what was in front of them. One way or another, this is the idea of magical realism I want to inject into all my photographs.”
Worthers Chair
“I created a chair for the project 19 chairs, they asked 19 different artists to reinvent a simple wooden chair for an older person in support of the charity Age UK. I thought my chair could be the Worthers original massage chair. Great memories are attached to the caramel butterscotch from whenever my family would visit my grandparents, the Candys would be the first thing offered with a cup of tea. The chair then was photographed with our Mr Worthers Terry who I even made a chest piece for, instead of existing as a chair the final object was in the exhibition as a print.”
Who the Fuck is Henry Gorse?! is available on his website here.
