Flash photography can create its own darkness. Black edges and margins tend to forma a border around its pictures, void like recesses of seemingly infinite space and depth rom which subjects are called in for questioning- for one shrill moment- before dissolving again back in to obscurity. In these terms flash offers us a visual metaphor fo rthe way in which the city and specifically London, has been perceived and mythologised in C19th and C20th culture. A place whose overwhelming size and myriad complexities are often presented as an image of unfathomable darkness, one that can be penetrated only by the bright light of a etective who submits its details to a harsh and unremitting scrutiny.
On His arrival in London from the Midlands in 1990, David Moore was drawnt to this strategy to negotiating the city. This was the fag end of the eighties, Thatcher’s decade, with the city reformed into a patchwork of baroque opulence and the abject.
Partly through a morbid fascination and aprtly through sound professional nous, moore was attracted to one durable enclave in this unstable world. A dimly lit scene of private views, book launches and business parties: one of those closed social alliances, self protecting and exclusive, through which the city can reveal itself. Posing as a society photographer- an outsider on the inside, in neither public or private space- he began tentatively to record these events, uncertain as to where his project might lead.