Street photographer Paul Harrison’s project exploring the possibility of the magic of coincidence in the everyday, in London’s major art galleries.
The idea of owning a proper camera, let alone using it to take photographs over and above family snapshots always seemed like a fantasy, something that other people did, like taking up painting or sculpture. However, in January 2020 I took the plunge and bought a second hand camera on Ebay with the idea that I would try street photography. I’m a tour guide in central London, so 2020 was bound to offer bountiful opportunities to be out and about with my new camera. What could go wrong?
I’m looking for everyday surrealism; certainly nothing that should be described as anything like a wobble in reality, but instead I love the idea that reality already contains these strange moments and that its possible for us all to look for them if we take the time. You don’t even need a camera. That could be an overheard second half of a conversation that takes on a new strange and silly contextless meaning, something daft that you witness on your way home from work, or, in my case for this project, people in art galleries who don’t know that they’re looking or acting like a nearby artwork.
That being said, this takes time and perseverance, but if I come home with nothing, which is the norm, at least I’ve spent quality time in some of our finest art galleries and museums. A zine of my gallery work (I do just as much classic street photography) has recently been released on Bump Books which feels wild, particularly as a couple of the photographs are from that giddy period between getting my camera and the first lockdown.
I have been shooting in both of London’s Tates and the National Portrait Gallery but most of my photographs have been taken in the National Gallery. Throughout 2024, I shall be there ‘helping’ them celebrate their 200th anniversary
