LOLA by Bradley Scott

Bradley Scott is not content to keep a safe working distance between his lens and its subjects. His intent is clear – to bind the artist and subject as one.

Scott positions his subjects in front of the lens not for shock value, or to portray a scenario that exists in someone else’s fantasy, but to capture his own life’s fantasies whether it is a seductive body ready for play or a cheeseburger begging to be consumed.

He is unashamedly a voyeur, yet never exploits or victimises his subjects who are aware of his objective and play their part accordingly – albeit a part they might normally play without the presence of a camera. Trust is earned not because he is famous or has deep pockets, but because he is honest, considered and a passionate im-age-maker.

Obvious comparisons will be made with the likes of Terry Richardson, Richard Kern and Juergen Teller. While all these names may have a common thread, the execution and motive of their work could not be more different, as is this body of work.

Scott photographs the metamorphosis of his fantasies into memories, and his images are extremely personal. But he is not just consumed with having a good time. As important are his daily interactions with people and the places he loves. No moment is too sacred or risqué, from the exact moment of his mother’s sudden and myste-rious death to the moment of sexual release – he sees it all as part of a relentless desire to capture his own life experiences.

Scott’s work shows a maturity that suggests he has been shooting for decades, but a few years is closer to the truth. When other photographers were still toying with technical considerations, Scott threw himself headfirst into the world of photography.

Flicking through the pages of this book, expect to be taken on a ride that will make some smile, some cringe, but all feel compelled to see what awaits on the next page. Whether you’re horny or hungry, welcome to the world of Bradley Scott.

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