How did you come into the role of being the Editor-In-Chief of Project Upcoming? What is your role within the publishing company?
The title is just a formality. I started Project Upcoming around 2 years ago because the lack of a platform that genuinely showcased and supported young, up and coming artists really pissed me off. It seemed like there were very specific ‘credentials’ you needed to be noticed, which meant that majority of the people I knew were all trying to be like each other. They were all trying to be what these big platforms deemed “cool”, which is definitely not cool. (DIY YOUTH CAN VERY MUCH RELATE TO THIS)
So here I am two years later, as Editor in Chief of a publishing company and online magazine, sat in my office space answering Interview questions about something that was once just a 4am anxiety attack. It’s awesome, to see how we’ve progressed and to see the amount of support / recognition we’ve gained from just doing what feels right to do. I’ve got both a Junior Editor and an Artwork Coordinator and we’ve just set up a proper photo studio in our office. It’s crazy. I’m still in awe of all this.
What is your current photographic work about?
Well I’ve been in California for 2.5 months shooting for a few new projects- but my most recent body of work is about my love hate relationship with London.
What new projects have you been shooting in California?
I started shooting for a continuous, travelling series based around local skateboarding which I actually started when I was up in Portland and then a few personal projects that I’ve wanted to do for a while. I spent a day skating from one end of Sunset Blvd to the other photographing my favourite ‘landmarks’, and then I shot some Portra 800 (which is rare- I usually only shoot black and white film) at Zuma beach. Just little things like that.
What difference and/or similarities have you found when you’ve shot in California in comparison to London?
I definitely spend more time shooting and appreciating my surroundings when I’m in California. In London, and just Europe in general, I spent most of my time documenting the people I’m with rather the things I see and places I go.
Why do you have a love/hate relationship with London? And how have you documented this relationship through your images?
I left LA when I was 11, and to be uprooted from everything and everyone you know at such a vulnerable age is quite traumatic.Saying that- I wouldn’t change what happened. Being in London forced me to toughen up emotionally, it’s a difficult city, and distance between myself and my life in LA created this incredible sentiment.
I’ve even got the name of my elementary school, Wonderland, tattooed on me because I think is the coolest fucking place, and I’m still best friends with people I met over 15 years ago because that distance made me appreciate those friendships much more.
That’s not something I can say about London. I’d look like an absolute tool if I had “ St Marylebone C of E School for Girls” tattooed on my ribs.
I’ve got a whole notebook full of project ideas I’m dying to execute. I spent years waiting for the right platform to be interested in my ideas, and finding that the majority of them just stick to their own circle of creatives, which is why I launched the online magazine side of Project Upcoming. Now I’ve got my own platform to do exactly that.
What advice would you recommend to young photographers today?
Stop shooting “party” photos on a cheap point & shoot with Agfa 200. Spend your time thinking of projects you want to work on and get motivated to do so. Then publish it (with us)
TO KEEP UP WITH THE WORK OF SADIE BAILEY AND/OR PROJECT UPCOMING, FOLLOW THE LINKS BELOW:
Furthermore, i’d just like to mention that Project Upcoming formed the Facebook group ‘Print is Not Dead’ to help zine + photobook makers (as well as appreciate-ors of printed medium) promote and sell their work, as well as it acting as a platform to discuss and share ideas and knowledge of all things zine and photo-book related!