The power of the camera has been realised—there’s a reason that every electronic device comes with one. It is a tool that allows you to not only document a moment, but to manipulate and shape it too. Photography and video are inherently flexible and exciting, both in the process of creation and the experience of the results. Fling Fling is one of our favourite’s, working with video to document the realms of fashion and personal style. These one-minute videos are not only a record of the style at a point in time but also demonstrative of the self-discipline it takes to create for the sake of creating. I spoke to Andrew Morgan of Fling Fling as part of Canon’s Shine A Light Campaign about his approach to image making, the use of videos and the influence of fashion and photography on his work.
While fashion photography is nothing new, the exploration of fashion and personal style through film is surprisingly young. Fling Fling’s ‘The Process’ videos represent a hybrid form within this new world of fashion film. These works exist simultaneously as beautifully edited fashion films with a very distinct personal approach and additionally, as an individual portrait of each person they feature, honing in on their particular idiosyncrasies, personal style and space. This hybridisation is a symptom of the freedom of the action of creation. It is this element of freedom that appears to be where the appeal of working with fashion lies. Fashion, for Morgan, is a subject that allows for the greatest creative freedom, ‘I can make whatever I want.’ It seems logical, the natural dynamism of clothing, that they are intended to move, makes it the perfect subject for documentation through video.
Being driven by ‘the need to do things and being creative’ and finding his feet after ‘falling into fashion’ Morgan has developed a practice that has been partially self-taught and learnt on the job. During our conversation, a number of photographers and filmmakers whose work is influential to his process came to light. Here, the highly controlled, cinematic approach of photographer Gregory Crewdson, and the indie experimental approach of filmmakers like Harmony Korine are both significant.
While Morgan’s practice is mainly rooted in video, the production of still photography is still central to the work, particularly that which is fashion focused. These images, drawn from the video works have instilled in them Morgan’s penchant for movement. While the image might be still, the sense of vigour remains with each model captured in moments of activity. Images drawn from ‘The Process’ also have a touch of the mysterious, you are, to some degree, haunted by what isn’t there and left wanting for something more.
Personally, I see ‘The Process’ as documentation of our society beyond just fashion and music in popular culture. While it is a record of the nuances of our particular culture and cultural behaviours, in Morgan’s words, ‘If nothing else, it’s a document of the year.'The work is also derived out of a desire for new content, to create it and to experience it. We are a people constantly on the hunt for the new—new content, new information and we want to consume it as quickly and easily as possible. Our conversation revealed the influence of Pop Art on the work, evidenced not only in the highly coloured scenes present in each video but also, rather cleverly, through the medium through which they are communicated, Facebook. By using short, visually appealing videos and conveying them to audiences through Facebook, Fling Fling is playing with us, tugging and teasing our constant desire for more more more.
Andrew Morgan is a Sydney based fashion filmmaker and photographer; you can find Fling Fling and watch ‘The Process’ here.
If you want to shine a light on what matters to you, head over to the Canon Shine page and check out the competition because no one sees it like you.