Nick Veasey

Wednesday 19th January 2011

FAULT Interview with artist Nick Veasey –

The best way of describing English born X-ray photographer Nick Veasey’s work is by using this well known metaphor: ‘don’t judge a book by its cover.’ In a society obsessed with image, Veasey’s work offers an anti-fashion vision challenging our assumptions of beauty. Also “they look cool.” His work has catapulted him into the fine art world, with a back catalogue of awards and honours spanning the past decade, and a list of big-name commercial and commissioning clients. To grasp the danger, commitment and complexities of Veasey’s craft, you only need look at the process. Most of his images are produced in the purpose built bespoke shed [once a British Military base to spy on Soviet] with 700mm lead-lined walls, using various X-ray machines and a 1980s drum scanner. Although for bigger objects, Veasey turns to multi-viewer X-ray based system used at country borders to detect contraband. Each X-ray machine in his studio has varied capabilities and outputs, emitting X-rays from a head that is controlled by Veasey outside the area containing the radiation.

Once the image is captured, each film is scanned at a high resolution on the drum scanner, cleaned, retouched and pieced together. The image is exactly the same size as the object. For example, for the 747 aircraft hanger, over 500 images were taken, taking three months to completely scan, and the Mini took around 300 images of individual parts to create the full X-ray of the car which was exhibited late last year.

Each subject is exposed for up to five minutes, to put this into context, medical X-rays expose for just 0.2 seconds. Veasey has been exposed twice and now has to check radiation in the surrounding area every day, and wears a tag on his collar giving an up-to-date reading of exposure. As it is such a risk to health, for the human portion of his images, Veasey uses skeletons (used to train radiologists) or if possible, a corpse donated for science. However, if a corpse does become available, he has only up to eight hours to work before rigor mortis sets in. By using the process of X-ray, a somewhat ‘big brother’ type of technology, to remove layers and delve into the hidden structure is perhaps not homage, but a nod-of-the-head towards the anti-establishment attitude. Creating an intriguing juxtaposition of message and inner beauty.

In society we are immune to how often X-ray machines are used, airports looking at our luggage, post offices scanning parcels and hospitals checking for broken bones, but we are often not used to using X-rays to reveal and uncover the intricacies of everyday objects and scenes. Nick Veasey offers a new and an interesting way of seeing.

Words by Stephanie Ireland

FAULT: What attracted you to x-ray photography?

Nick: Initially I was attracted by photograms and abstraction. Man Ray, Maholy Nagy, Adam Fuss and Christopher Bucklow. Then I saw an x-ray of an Egyptian sarcophagus at the British museum, so I started looking into x-ray images in general and the interest blossomed.

FAULT: What has been the most difficult subject you’ve chosen to photograph?

Nick: Big things like the bus are technically difficult to x-ray. Months of detailed works, and thousands of pounds in costs. That’s why no-one else does it I guess.

FAULT: In regards to your filmmaking, what genres would you like to make a transition into?

Nick: To be honest I’m not into narrative film. I like short films that stand out as art pieces, but don’t necessarily need to be seen in a gallery context.

I’m working on a film at the moment but am bloody useless at all that type of editing software. I’ve got hundreds of beautiful x-ray stills that I want to animate into my x-ray vision of outer space. I want to share that film in an unusual way, not internet, not gallery – another way where it would reach a wide audience.

FAULT: What lies ahead? Do you have any new projects you’re working on at the moment?

Nick: Like many artists I’m truly only interested in what’s next. Many, many things to do, but so little time. The projects that will happen are my next book, and 3-d art installations using x-ray that confuse spatial awareness. Right now I’m doing a project on masks.

FAULT: What does an average day for Nick Veasey involve?

Nick: Kids up, dressed, breakfasted, school, walk dog, studio, emails, tea, deal with that days bullshit, styling next project, x-raying current project, home, kids to bed, Tv/surf, bed.

FAULT: What are you currently listening to?

Nick: Roots Reggae. Rub a dub in my lab. Music is really important to me and I know this sounds clichéd, but really did change my life. Music was my introduction to creative expression. I just love the stuff. When you listen to a great album or hear a DJ that takes you to new places it is just so stimulating. I’d love to be able to construct an exhibition of my work that symbiotically moves me like good

music can.

FAULT: Biology or technology?

Nick: Biology.

FAULT: What other styles of photography attract you?

Nick: I don’t really like the term ‘styles’ as it can pigeonhole people. I’m a one-trick pony so I don’t mind being tagged with a ‘style’ but being known for one type of thing can be a mixed blessing for anyone. I’m a photography fan, so many photographs attract me. I really like the work of Greg Crewsdon, Vee Speers and what is going on in general in the Finnish school right now. And of course I like any photograph that fuses science, so people like Eeadwaard Muybridge, and Doc Egerton. I love photography that has a filmic texture. Photography that is sumptuous, that sucks you in.

FAULT: Had you not become a successful photographer, what career would you have chosen?

Nick: I’d like to be cool and say music or something, but to be honest I did loads of jobs before I got into photography and was crap at all of them. So I’d probably be doing some dead-end job if photography hadn’t saved me.

FAULT: Has there been much change in technique or technology since you began using X-ray photography?

Nick: Well x-rays are used in 2 industries that are driven by massive budgets – healthcare and defence. All the new gizmos don’t take a better x-ray than my kit. X-Ray can be done a lot quicker with the latest digital kit, but it can’t be done any better.

FAULT: How many attempts does it often take to get a clear and crisp image?

Nick: For example, the Puffa Jacket image on display in the National Collection of Fashion Photography, was it perfect first time? I did the Puffa Jacket in the dark to get subtle detail so I ended up taking several more exposures because I can’t really see what I’m doing. It looks good though, I like that one. I’m happy to spend ages getting the optimum detail from any subject because I love to x-ray. It’s a nerdy existence but I’m at my happiest when I’m shut away in my lab getting stuck in.

FAULT: What is your thought process behind your subject matter?

Nick: It has to be something with aesthetic interest when x-rayed. I try to work on projects rather than flitting from one thing to another – I’m doing music

next. It’s interesting to think that different sounds come out from within each piece. When you contrast what comes from a trumpet with a moog synthesiser. To look inside each thing will make us think about sound, music, art etc.

FAULT: Who or what inspires you?

Nick: Everyday life inspires me. I can find beauty in the mundane. I’m appreciative that my work is getting out there, so I want to keep that rolling along. My wife is a major inspiration as she gave me total support from day 1. I trust

her judgement. When I look at other artists’ work I am inspired by the love that has gone into it and then also if it is something I can connect with. Love + understanding = quality.

FAULT: What are your pet peeves?

Nick: Needless bureaucracy. Administration of any sort. Paperwork. I think you get the picture. Oh and the proliferation of synthetic looking, over-retouched images. Whatever happened to ‘capturing the moment’?

FAULT: Are there any talented photographers we should keep an eye out for?

Nick: Vee Speers, as I’ve said is great. Hendrik Kerstens portrait series reflecting on Dutch Master paintings is really captivating which leads me on

to Tom Hunter, the only photographer that has exhibited in The National Gallery – that is just how good he is.

FAULT: If money, size, time and danger were irrelevant, what would you most want to X-ray?

Nick: X-Ray Utopia eh? An old-school fairground. That would just have it all.

FAULT: What is the biggest compliment you have received and who was it from?

Nick: Being given my first exhibition was a huge compliment. It was in LA and a total flop. So much so that the gallery shut down soon after and the last I

heard the owner was running a coffee shop. But for someone 8 hours time difference away, who I had never met to get in touch and say to this novice that he liked my stuff – that was big. The late, great, Alexander McQueen telling me: ‘I had done a god job’ when x-raying his couture works of art was special as well.

FAULT: Has winning awards for your work changed your life in any way?

Nick: No. As they came I felt like I was climbing the ladder, but they haven’t changed my life. And with hindsight the ladder had a few cul-de-sacs.

FAULT: What is your FAULT?

Nick: According to my wife – everything.