Geir Moseid - BA (Hons) Photography

Under, 2012 © Geir Moseid
Under, 2012 © Geir Moseid
Under, 2012 © Geir Moseid

Geir Moseid is a Norwegian photographer who studied BA (Hons) Photography at London College of Communication, graduating in 2008.

What made you choose that particular course?

I got it recommended at a fair I visited in Norway and I got offered a place on the spot. It was the focus on social communication in a variety of expressions that was the convincing element.

Where are you from in the world?

Oslo, Norway.

What are you working on/where are you working at the moment?

I am working on a project that concerns itself with the role of the contemporary man with all its ambivalent connotations. I am interested in investigating how perceptions of men are changing and the complex position men are faced with in a time of cultural, sociological and economic change. I work from Oslo.

Can you describe your work in your own words? (Ideas that shape it, stories you want to tell, a person, artist, place or subject that inspires you).

I work with staged photography, but with clear roots in the documentary tradition. I aim to trigger something that is already within the viewer so that the work becomes a catalyst for personal and social reflection. I usually work around the notions of an open narrative with a room for the viewer to move around in, I am not interested in any specific reading of my work.

Please tell us about the approaches, techniques and tools, you use in your work.

I work with a 4x5 large format camera using often both natural light and flash. I stage work using friends, students and family in various social settings.

Name three things you couldn't be creative without.

Films, other photographers (I see a lot of images through my work as a teacher), and social experiences that I encounter in my daily life. I very often start an idea with a situation I experienced or encountered myself.

If you could collaborate creatively with anybody in the world who would it be? (Or maybe you already have?)

Wolfgang Tillmans.

Tell us about your future plans and ambitions.

My future plan is to stay within the art scene, but maybe not specifically photography. I find teaching young people very fruitful, so as long as I can balance my own practice and teaching that would be great. But my major ambition is to live off my practice as an artist, but right now that is a very distant idea, even though I get grants here in Norway from time to time.

What three words would you use to best describe LCC?

Inspirational. Educational. Dedicated.

What did you enjoy most about LCC?

Well apart from the social aspect, which was great for me personally, I really enjoyed the creativity and the passion the teachers brought to both lectures and conversations. Paul Smith, Tom Hunter, Anne Hardy, Beverley Carruthers, Craig Smith, Lucy Soutter, Dallas Seitz and everyone from the technical department all made a permanent mark on my photography in their own individual way.

Have you been back to LCC since graduating, and for what reason? 

I always try to swing passed when I am in town, both to see what is going on visually, but also to keep in touch with the teachers that had such a big influence in how I relate to photography and its communication possibilities.

What’s the best exhibition you’ve seen recently?

A massive retrospective from Roger Ballen in Copenhagen, although slightly repetitive.

Where in London do you go when you need a little inspiration?

Tate Modern. The Photographers Gallery. Flowers East. Or I go and see my mates from LCC and talk photography. I still have conversations over mail with Guy Archard and Maxwell Anderson, they are great friends, but also inspiring photographers.

What piece of advice would you give to new students?

Well the obvious, hard work, but that can mean so much. It is important to look at photographs. I know that that sounds obvious, but students sometimes think they can figure everything out themselves, but by exposing yourself to a myriad of expressions and genres it is easier to feed all of that into your own images, both theoretically and when it comes to your own visual language.

But I also made a lot of failed shoots when I was I college, and even though that was hard at the time, I have understood, in retrospect, that it was extremely important for my technical understanding and progression.


Geir Moseid website