In black and white photography, colour becomes obsolete to the composition. Shades, light, and silhouettes assume the role of the alpha, directing our attention towards the depth of monochrome. Into the viscous characteristic of the monotone, Swedish photographer Liam Warton approaches black and white through light and darkness, manipulating his exposure and contrast towards the consciousness and subconsciousness of his subject.
The subtleties in Liam’s sensibilities is pertinent to anatomy and an uncanny ability to emote through the attitudes of postures. The eyes of his subjects bear the dispassionate expressions that equal the tonal aspects of the black and white gradient. In most of Liam’s photographs, she challenges the spirit beneath corporeal existence by choosing not to photograph his subject’s face. In order to uncover the hint of truth, Liam requires the observer to look past the direct window of a person’s visage and inspect the delicate details that encircles them instead.
The simplest of his composition frames an off focused female in the background. In the blur, we can observe that she is listening to the ground. The worn-out nail paint on her lifeless fingers suggests the notion of imperfection. In the foreground of the frame, the element of mystique is enhanced through darkness that stretches towards her light. Although the narrative of the picture relies on conjecture, Liam’s sublime composition provides the hypothesis for the possible story that lies within his image.
Albeit partaking in a different frame and style, the narrative of Liam's images passes from one onto the next; there is an image of a man who has seemingly collapsed on a pier, yet his posture resembles that of the collapsed female from the previous image. A thorough inspection of Liam’s images can transport his viewers into the vicarious psychology of his composition.
By utilizing various ways of introducing his shot, Liam taps into the the fragmented subconscious of an ephemeral world. The inverted image of a lady on a swing alters her silhouette into the form of levitation with the darkness in her shadow looming in rebellion.
The notion of freedom and levitation expounds the idea of spirit and body as introduced in the image of a figure waving to a plane, or a bird over the head of a female silhouette, who stands on a flight of stairs that lead towards a darker underground passage.
In Liam’s black and white collection, his expressionism flourishes in the spectral use of multiple exposures, experimenting with opacity to propose the ideas of spirit and existence.