Julia Fullerton-Batten: The Curtain Rises
If Julia Fullerton-Batten tackles a project, then it is with full commitment and planned down to the last detail. For her picture series “The Act”, she did extensive research, which is added to the films and texts of the project.
The goal of the project was to fully examine the lives of the 15 sex-workers whom she interviewed in order to present their stories to the world.
While working on the project, Fullerton-Batten realized that these women are living their lives as if on a stage. She decided to turn this into the Leitmotif of her picture series.
Each model is staged on a carefully built scene which corresponds to her profession and which is emphasized by the lighting. The lighting is deliberately cinematic and helps to create an enigmatic interpretation of their everyday lives.
Julia Fullerton-Batten’s picture series is fantastic in its use of color and its composition. Despite the fact that the women strike extreme poses in some pictures, they always look esthetic and artful.
Fullerton-Batten just has this unmistakable way of giving a face to tough topics. On the one hand, the extreme is exhibited, on the other hand these works always have something smooth about them, which emphasizes the fact that they aren’t judging. It is always fun to look at her new works and to be inspired to reflect.
Julia Fullerton-Batten: Sets a fantastic scenerie for Oxfam
Oxfam managed to excite Julia Fullerton-Batten about a great project. Now, two strong partners with great ideas become a pair.
Julia Fullerton-Batten, who is known for her awesome way of staging and creating small worlds with her pictures, meets a formerly small but growing community that has created a big world of public interest and fair consumerism.
The campaign's shooting takes place in one of Oxfam's warehouses. And as if this wasn't enough, the models for the shooting are casted from customers. Very unusual, but a great idea!
Fullerton-Batten chooses her props from the extensive stock of Oxfam's repositories which create exciting worlds in combination with the protagonists. The results are six fantastic pictures which show wit, sensitivity and, most of all, their creator’s eye for composition.
Fullerton-Batten and Oxfam are a win-win duo.
Julia Fullerton- Batten - about her Feral Children project
"My project ‘Feral Children, 2015’ was inspired by reading the biography of Marina Chapman (‘The Girl with no Name’, by Marina Chapman and Vanessa James, her daughter). Marina was 5-years old when she was kidnapped and abandoned by her captors in a Colombian jungle. She was ‘rescued’ five years later, only to enter even more unpleasant life experiences before achieving a more settled life and later on getting married and having a family.
I was appalled and intrigued by this story of this young girl surviving in the wild and it inspired me to search for other cases of feral children. Some several centuries-old cases are surprisingly well-documented because of the great interest at that time of the development of speech and social behavior patterns. Other cases mentioned are even more recent from the 21st Century.
Usually I take several months from start to finish when producing a project. In the case of ‘Feral Children’ it took me nearly 2 years.
With this project, each feral child was a project in itself, requiring intensive research and pre-planning. Finding the locations for shooting and sourcing dogs, wolves, monkeys and a leopard took a long time.
Myself and an associate found a number of suitable candidates for each child. Many of them were actors. I explained to them that they would be made up to look half-naked, dirty, bruised and scarred. Some of the children couldn't really believe the stories but found them interesting. Several of the parents found them very disturbing, and were unsure about their child’s participation. However, they were all happy to do the shoot when they heard that my reason for doing it was to increase global awareness of feral children and the suffering they experienced."
Julia Fullerton-Batten: Campari
Someone who manages to charm the pants off James Bond and even to steal his heart will definitely also manage to steal the hearts of Campari’s friends who can enjoy the limited-edition calendar month after month.
In every picture, Eva Green cuts a fine figure in front of the camera of art photographer Julia Fullerton-Batten and in dresses of Versace, Vivienne Westwood and others.
The calendar’s motto, “Mythology Mixology”, tells the tale of classic Campari drinks in delicately staged pictures, the protagonist of which completely relies on seduction in her red dress. Starting with the cover that shows Eva Green in front of a huge wheel of fortune, the different months take her as far away as to the moon. The viewer shouldn’t expect a typical calendar from Julia Fullerton-Batten, but an elaborately staged tribute to the noble Campari drinks.
The brand should be more than happy to not only have found someone who represents the sexy, charming Campari image but also to have found someone in Julia Fullerton-Batten who knows how to perfectly stage this moment.
Julia Fullerton-Batten: Not Your Slave
“Always say yes!” is a widely spread principle when it comes to satisfying your guest or your customer.
But there are (or were) times when this noble motif threatened to create less noble situations. This becomes clear when taking a look “In Service”,
a project by the unquestionably talented photographer Julia Fullerton-Batten. Her pictures are meticulously structured and magnificently staged and they display the alarming details of this tricky principle.
The artist, who lives in London, explains on her homepage that she wanted to show the living conditions of English servants around the time of Edward 7th (1901 – 1911) from a new perspective. She desired to create a new image apart from the popular mainstream notion of lovingly cared-for servants who lived in splendour and prosperity.
The sad truth is that more than one million people worked at the houses of wealthy Englishmen in order to escape their miserable and poor lives. Much to their chagrin, especially to many women’s chagrin, abuse and sexual assaults happened frequently.
Julia Fullerton Batten impressively incorporates those situations into wonderful art nouveau structures in which she includes aesthetic interpersonal scenes but at the same time she always manages to shine a light on the slight terror the pictures are about, even if it sometimes only becomes clear at a second glance.
Julia Fullerton-Batten: Shoots Swisscom Campaign for Heimat
When Heimat was looking for a photographer to shoot their new Swisscom campaign it didn't come as a surprise that their choice fell on Julia Fullerton-Batten.
Her photographic style with special skills for setting epic lighting and constructing complex stories, was exactly what Heimat needed for this campaign.
So Julia flew from London to beautiful Switzerland with its picturesque villages to spread her magic as an award winning photographer. We are proud to present the result of this shooting. So here it comes, enjoy.
Julia Fullerton-Batten: Shoots paper blossom trees and girls for her new Series Korea
Julia was born in Germany to English/German parents, and grew up in Germany and the US, before moving to the UK. With her inquisitive eye, she often poses questions of identity and cultural heritage. In this series entitled "Korea", Julia street cast and photographed young Korean women wearing the nations’ traditional dress called "Hanbok", a centuries old attire striking for its deeply saturated colours and simple broad cut. Shot in the middle of the monsoon season in between bouts of torrential downpour, Julia explores the dynamic tensions that arise when traditional customs are symbolically contrasted with the harsh and rigid environment of Seoul.
Laden with cultural meaning this huge discrepancy between tradition and modernity still escapes all aspects of reality trapping us in a misty twilight dreamscape, where little Korean cupcake ladies dance against the wind and arrange giant paper blossoms on lonely city trees.
Julia Fullerton-Batten: First Woman to shoot Campari Calendar
Shooting the 16th edition of the globally renowned Campari Calendar is Julia Fullerton-Batten who is the first ever woman to get behind the lens on the Calendar project.
Campari has been producing calendars for 15 years now, featuring actresses like Salma Hayek and Uma Thurman. So many of the calendars from past years have celebrated the female form, so it’s only natural Campari would tap Julia Fullerton-Batten to take the reigns.
The classic Campari cocktail, the Negroni, is shaken not stirred. Appropriate for Bond Girl Eva Green, who will be sipping the iconic cocktail for upcoming year 2015.
The stunning French born actress will take the lead role in this iconic Calendar, entitled 'Mythology Mixology', which is dedicated to celebrating Campari’s colourful history and the intrinsic stories linked to twelve of its best-loved classic cocktails.
Julia Fullerton-Batten talks about the creative test the theme offered, saying,
"Campari has always had an inherent ability to recreate itself and keep the brand image fresh, inspiring and imaginative - a goal I constantly strive towards in my own work too. This year’s theme was an interesting challenge, as there was an important job to do in terms of taking historical anecdotes and invigorating them with a modern edge. I'm confident we managed to strike that delicate balance with this year’s imagery." But after shooting thirteen totally different looks in celebration of Campari's heritage, it looks like they nailed it.
To get everyone pumped up for the release Campari and Julia have given us some glimpses behind the scenes. Although none of the images they showed us are final images from the project, we do get to see some of the gowns, and styling treatments from the shoot. We can't wait for the Calender to finally be revealed in November!1:
Julia Fullerton-Batten: A Testament to Love – Cinematic Still Life of a Love Story
London based award winning photographer, Julia Fullerton-Batten presents us with a personal series she shot this year, entitled "At Testament to Love". She has created cinematic, Edward Hopper-esque stills that capture just one brief moment – the moment shortly before or after a dramatic point – of a love story. Charged with intrigue, we the viewer, are automatically drawn in to weave a web of stories around the dramatic clues we pick up on. Do we see empowered women, who have chosen this new path ahead of them, or do we see tragedy and victims of love? What we then realise, is that by placing the character at such a dramatic crossroads in their lives, we become the protagonist. It is our own deepest, most internal emotions, wishes and fears that are thus exposed by Julia, and any negative judgment we make, is ultimately, the self-criticism we need to work on most in our lives. Heavy stuff, huh?
Julia Fullerton-Batten: Hornbachs Dreamy Immortality – The Diary of a staircase
Well here's an interesting challenge Julia Fullerton-Batten was faced with. Hornbach is a German home improvement centre, also providing parquet and stair casing to the highest standards, but they wanted to give their products the personal touch, and visualise the long lasting durable quality of their products whilst bringing up the connotations of heritage and legacy. So rather unusually, the creative concept was to blend the wooden surfaces in with the faces of those who had "laid the path" so to speak, or built the solid stair case that has seen so many generations and family stories pass by on it. Julia nailed the brief (and the parquet? Who knows..!) with her ethereal portraits of the older generation who's wood laying legacy we so unassumingly tread on today. She thus captures the dreamy immortality with which Hornbach aim to inspire the next generation of DIY enthusiasts. There are many ways to heaven, and here you have the Hornbach way.
Julia Fullerton-Batten: Retro Chic - Kids Editorial in Telegraph Magazine
The Telegraph Magazine commissioned Julia Fullerton-Batten with this rather intriguing fashion shoot starring Estela Andres and Charlie Dulieu, both just 6 years old. Retro chic is the motto, in impeccably styled interiors with 50's decor, and some very serious kids playing "grown ups". Resonating with Julia's personal series "Mothers & Daughters", this shoot has that same slightly unnerving but curiously pulling effect on us. Julia obviously knew exactly what she wanted from this shoot and has gone into great lengths to get every detail right, as is always the case with her highly narrative shoots. And somehow, I can't help but see a bit of an innocently spoilt little madame (much like Mad Men's Betty) coming across in that misty glare of Estela's, which she pulls off so effortlessly.
Julia Fullerton-Batten: Intimate portrait series
Now for a very touching personal series by Julia Fullerton-Batten. Eerie at first impression, when we delve deeper, we learn that these images are of people who are visually impaired in different ways, from different stages in their lives.
Julia left the choice of location to make up the background up to her subjects, and hence created a series of images that carries strong emotional meanings for her sitters.
The photographs conjure up a poetic sensory perception of the emotional relationship between the space and the sitter, such as Alan, 50, who suffers from glaucoma describes as follows: “Even now I can walk to the edge of my village and scan the rim of the opposite hills, getting that sense of space, of distance. Consciously breathing it in. Drinking it in. In case it fades.”
Reality fades into a delicate visual memory for these courageous people, and Julia has brought this visceral notion across with great artistry.
Julia Fullerton-Batten: Flying Girls for Telegraph Magazine
No, this is not the current work of Damien Hirst, this is Julia Fullerton – Batten’s latest fashion editorial which was published in The Telegraph Magazine. In true Julia style, the models appear floating in mid air their garments and hair billowing around them. Adorned in the coral hues of Giorgio Armani, Versace, Chanel and Manolo Blahnik, the young girls are trapped in glass tanks, appearing serene yet vulnerable; eternally objectified. There’s always an ominous twist to Julia’s work…
Julia Fullerton-Batten: Article in GQ Magazine about Suicide Chatrooms
GQ magazine commissioned Julia Fullerton Batten to shoot the following imagery to accompany an article about suicide chat rooms and an internet predator. The series shows an innocent young girl who has fallen prey to the dark side of the internet. Facing away from the viewer, she holds a laptop in her hands, the glow of the screen like a siren's song luring her deeper into danger. The chilling symbolism came from a collaboration with photo editor Krista Prestek. In another haunting image, the young girl is already fading out of view; she is lost from the rest of the world.
The series is a startling visual illustration of an invisible problem - how our always online, always connected world can, ironically, lead to isolation and depression for some people and make them vulnerable to the darker elements that lurk out there in cyberspace.
Julia Fullerton-Batten: Fashion and dance for EGOISTE mag
EGOISTE fashion magazine has just published a fashion series by Julia FULLERTON-BATTEN. The pictures showcase designers such as Prada, Jean Paul Gaultier & Dior and were inspired by Pina Bausch’s modern dance choreography. Russian model Vlada appears to float from picture to picture like a leaf, while her dress sways in the wind. The photographer embellishes her with an aura and even her face appears blurry at times, making her even more mysterious and unattainable to the viewer. In the end, not only do we want to get a hold of Vlada, but also the dresses she is wearing.
Julia Fullerton-Batten: Mothers and Daughters series
Julia FULLERTON-BATTEN's series Mothers and Daughters is a story about the complex and fluctuating nature of the mother-daughter relationship. The series sheds light onto a very personal side of Julia, since her own relationship with her mother was a major source of inspiration for the series.
Each and every carefully composed scene – always featuring real mother and daughter pairings – documents a different aspect of the relationship: oscillating between tension and empathy, concern and support, coldness and love, pride and jealousy, past and future.
The photographer illustrates how the mother-daughter relationship is subject to running through different phases and continues to develop throughout the life cycle. The domestic scenes set in suburban America may appear superficial on the outset, but there are psychological truths to be found beneath the surface.
Polaroids by Julia Fullerton-Batten
Julia FULLERTON-BATTEN realised a Polaroid casting for AKWARD together with the Impossible Project. The Impossible Project is happy to give Julia the newest Polaroid films for testing purposes. This time, Julia used them to create her multi-award winning 'Akward' series.
Julia Fullerton-Batten for Varivax
Julia FULLERTON-BATTEN’s scenic people motifs not only come into their own in her exhibition motifs. VARIVAX from New York chose the photographer for their current vaccine campaign. The agency was Surge, NY.
Julia Fullerton-Batten: Awkward
Since 2004, Julia Fullerton-Batten has been working with the idea of adolescence. Her ground breaking series “Teenage Stories” placed pre-teen girls in situations where reality and non-reality collided. Her subjects were introduced with new responsibilities, torn from their lives of day-dreaming and fantasy. With her following series “School Play” and “In Between” Fullerton-Batten guided her subjects through their teenage years, confronting issues of self-awareness, social peer pressures, conformity and their place within their domestic lives.
“Awkward” is Fullerton-Batten’s newest series, where her subjects now face coming adulthood and the internal and external feelings and confusions dealing with the onset of their sexuality and their relations to each other.
Fullerton-Batten’s highly stylized photographs mirror the culture these young adults are brought up in. Her subjects live in a new MTV world of high fashion, social awareness and a mature becoming. In this light, Fullerton-Batten comments on the world of advertising and media persuasion without the need of products. She strips the image to it's essentials: Subject and environment and through composition, lighting and gesture intertwines non-reality and reality seamlessly continuing the progression of a teenage girls life.
Julia Fullerton-Batten for NY Magazine
Julia Fullerton-Batten for "The Impossible Project"
Julia Fullerton-Battens neue Arbeiten sind im Rahmen eines Projektes von „The Impossible Project“entstanden. Diese neuen Fotografien entführen den Betrachter in eine fazinierende Welt, wo scharfe Formen und klare Konturen so gut wie nicht existent sind. Gerade das lässt dem Betrachter viel Raum für Fantasie und macht das Betrachten dieser Arbeiten zu einem besondern Vergnügen.
Was war dein erster Schnappschuss?
Ein Foto meiner Kinder und Nichten in unserem Garten an einem sonnigen Tag.
Wie ist deine Motividee entstanden?
Ich liebe die stark begrenzte Tiefenschärfe, die Polaroid Kameras bieten
und dachte mir, es wäre spaßig Miniaturmenschen merkwürdige Dinge machen zu lassen.
Bist du zufrieden mit dem Ergebnis?
Ich habe festgestellt, dass das Arbeiten mit Polaroid-Material „draufhalten und verfehlen“ bedeutet.
I habe die Bilder absichtlich simpel und ordentlich gehalten, weil man ansonsten nicht richtig sehen
kann was darauf passiert. Es ist noch ausbaufähig...
Was kommt als nächstes?
Ich warte auf das nachgebesserte Material und werde dann noch mehr Fotos schießen.
Oh, und ich ich muss noch eine SX 70 Kamera kaufen.
Julia Fullerton-Batten for Ford Fiesta
Julia Fullerton-Batten for Ligne Roset
Julia Fullerton-Batten for O2
Julia Fullerton-Batten for Ligne Roset