Nigel Shafran first came to fame in 1990 with a series of images published by i-D; showing teenage shoppers in a down-at-heel precinct in Ilford, it was the antithesis of a high-end fashion shoot. His first venture into publishing, Ruthbook, had a similarly pared-down approach; showing his girlfriend shot mostly at home, in her dressing gown, say, or blowing her nose, alongside details such as crumbs on a kitchen work surface, a pot on the stove, or a hair stuck on a bar of soap. Shafran hand-wrote the title, in pencil, on all 600 copies. Now he’s found a new twist on this everyday approach, putting his work books on show. Dating from 1984 right up to 2018 they’re a creative insight into his working process and life, and a typically understated collection – though it’s the inaugural exhibition at Sion and Moore, the gallery run by Claire de Rouen’s Lucy Moore in the space that used to house Wolfgang Tillmans’ studio.
Interviewing Nigel Shafran is a circuitous, informal affair. Meeting him at his North London home, I immediately recognise Ruth, his partner and the subject of many of his photographs. I also meet his son Lev, who, though somewhat older, is also still easily discernible from his father’s pictures. The interview takes place in the kitchen familiar from Flowers for ____. Every now and then a friend calls round or phones, with plans made to throw a boomerang around in the park that afternoon, or play ping pong in the evening. Lev occasionally interjects from the living room with his take on the interview process, or on “nattering on about photography” as he puts it. “Sorry. Oh my God!” says Shafran, as the phone rings for the second time. “No worries,” I say. “You’re a busy man.” “A busy family man!” he replies. It doesn’t always make for an easy interview, but it feels appropriate for a photographer who focuses on the everyday, the domestic and the personal.