As more and more activists stage ‘creative interventions’ against corporate sponsorships, the Taylor Wessing Photographic Portrait Prize seems to have been able to escape from much of the ridicule. Although, if you compare it to its painterly counterpart (the BP Portrait Award); admittedly, a law firm sponsorship is attached to much less controversy than a big oil company like BP or Shell.

 

This year’s Taylor Wessing Portrait Prize has seen the continual tendency for the judges’ panel to choose conservative forms of portraiture. Out of over 4,000 anonymously submitted entries, the first place was awarded to Swiss-Italian photographer Claudio Rasano and his portrait of a young uniformed South African schoolboy. The judges claimed to have chosen the photograph due to its “simplicity and powerful directness, and was commended by its ability to create something beautiful out of the everyday.”

 

It may seem harsh for me to say, yet, the photograph seems slightly underwhelming rather than simple. I am unconvinced by Rasano’s artistic statement where he claims to be exploring "issues of preserving individuality in the context of school uniforms". His entry feels rather reminiscent of the kind of charity adverts that often plague our screens for monetary donations; the kind that does little in regards to actually ending the intense poverty within third world nations. Perhaps my scepticism of such lies in Rasano’s ethnicity. I can’t help but be reminded of the Apartheid nearly a quarter of a century ago in South Africa. His status, along with the majority of the National Portrait Gallery’s audience, holds a place significantly higher than that of the sitter due to the long-term effects of colonialism. By choosing this portrait as its winner, the judges have subconsciously highlighted the exoticism of the sitter’s ‘otherness’ and it seems that they may have confused it with a sense of “powerful emotion”. The question has to be asked: Why did Rasano choose not to explore the same theme within a more Eurocentric context? The message would not have changed if he were to have used Britain as his geographical base.  

 

The main ‘belle of the ball’, or showstopper within this exhibition, is ‘Frances’ by Josh Redman. Although nestled far into the corner of the room, there is a constant huddle of visitors tuning their audio sets to its corresponding track. It’s easy to see why from the strong sculptural chiaroscuro forms marked by Redman’s precise staging of light. There simply cannot be any denial that the Italian Old Master, Caravaggio, was not the central influence. What’s more, is that Redman chose to use an inexperienced sitter and his ability to capture her with such ease is a testament to his talent.  

 

‘Maria’ by Kelvin Murray is also much deserving of a mention and is a personal favourite of mine. It is a playful visual remake of the Roger and Hammerstein classic The Sound of Music. Murray crafts the Swiss Alps out of the backdrop of a dry ski slope and plants a Julie Roberts-esque figure in its midst. The skilful manipulation of the subject into the artificial location is reminiscent of the esteemed photographer Elliott Erwitt. One can’t help but appreciate the image’s subtle humour, which comes as a -needed breath of fresh air compared to many of the other works in the exhibition. For me, seeing ‘Maria’ is like being reunited with an old friend. It makes no attempt to pull at your heartstrings or evoke sympathy like the majority of the other works, which is why it works so well!