Chris Clunn b.1962 London
At the age of 15, Chris Clunn walked out of school. He had KY jelly in his hair and pierced ears. He wore a mohair jumper, homemade bondage trousers and clogs. Under his arm was tucked a copy of Cultures’ Two Sevens Clash. He had no qualifications and a point to prove.
It was 1977. High on hope and fuelled with the Punk ethos of ‘fuck the authorities – I can do this on my own terms’, armed with a portfolio of images of bands, including the Pistols, The Clash and the Jam he had shot for a school fanzine, ‘The Modern World’ plus promo shots from record companies, which he hoped to pass off as his own work, Chris headed straight to the Capital Radio Job Centre.
Within two days he had landed a job working as a tea boy/messenger for the Soho legend ‘Gypsy‘ Joe Andrews of Joe’s Basement.
It was his first real ‘nice touch’.
Joe, with his large gold earring in one ear, hearing aid in the other, silk scarf and gold teeth became Chris’s mentor. He taught him the trade and got him his first real camera – a Nikon F. He also introduced him to the sounds of Sonny Boy Williamson and Muddy Waters.
“I know you ain’t left school legit Cat, but I’ll take you on. If you put in the time and effort, you’ll get a tenner a week as your greengages”
Within seven years Chris had learnt the high-end archival black and white printing skills that he still uses in his darkroom today. As understudy to master black and white printer Robin Bell he worked with some of the great photographers of the past century including Bailey, Eve Arnold, Terence Donovan, Don McCullin, Linda McCartney and Terry O'Neill.
He owned his first Hasselblad and, perhaps most important of all, became a regular freelance for leading music publication the New Musical Express (NME). It was the mid 80’s and his second “ real nice touch”.
Whilst working for the music press and music industry Chris photographed many famous musicians including Lee ‘Scratch’ Perry, George Clinton, Shane MacGowan, Robbie Williams and the Red Hot Chili Peppers. As well as documenting New York’s burgeoning Hip Hop scene and the Chicago House scene.
Meanwhile in London he helped establish the visual style of Giles Peterson’s Talking Loud and Mark Jones' Wall of Sound labels.
By the early 1990’s, Chris became disillusioned with the music industry; not only was it killing his love for music, he was fed up with being 'just a cog in the machine'. Bands were seen as merely a product - ‘no different from a can of beans’ and he didn’t want to be perceived as a
Rock n Roll photographer. The money was good though and this helped fund the other side to his work - social documentation and portraiture.
His first personal study ‘ Eels Pie and Mash’ (1990-1995) portrayed the eponymous shops, a subject deeply engrained in his London upbringing. The exhibition was initially shown at the Museum of London before touring the UK. The accompanying book sold out within months.
Encouraged by this initial success Chris embarked on a series of long term personal studies, exploring inspiring subjects to produce images which have since become important social records. Over the last 35 years he has become renowned for these exceptional images, capturing changing worlds in his unique style.
Bummaree (1995-1998), which Chris sees as one of his most important works to date, documented the old characters of London’s old Smithfield meat market. These stunning images were shown in London, four years later, to great acclaim.
Walking the Plank (1993-1998), Chris’s entertaining study of Pleasure piers around Britain, toured the UK for four years – often showing in libraries and low-key public spaces. Making his photographs accessible to all is one of his trademarks.
Although always fascinated by his native city, Chris became intrigued by the world around him in his adopted home in North West Wales.
The workers of the famous Ffestiniog Railway and the farmers/workers trading at Dolgellau Cattle Market are ongoing subjects and include some of his most evocative work to date.
However, it was with Meirionnydd (2007 – 2011) that Chris made his mark in Wales. His sensitive, fond and insightful portraits of Welsh hill farmers endeared him to the local community. The photographs toured Wales in 2013 and the accompanying book sold out within weeks.
Overlooked, quirky, alternative and often comical subjects – from Pearly Kings and Queens, market traders from around the world, little pockets of British life, London’s fading facades or characters from the Valencian neighbourhood of El Cabanyal. Chris has spent years seeking out special stories and giving them his own interpretation.
Chris’s passion inspired projects have become historically significant. Architectural gems have now disappeared. Classic independent shops have closed, ways of life have become extinct and many of his subjects have sadly passed on.
In 2019 Chris had a beautiful retrospective of his most important studies at Plas Brondanw, the former home of Portmeirion architect, Clough Williams Ellis. It was the most attended show in the history of the gallery, with over 2,000 visitors. He still exhibits his works regularly.
Over 50 years from his first day at Joe’s Basement, after many more ‘real nice touches’, he has an extensive, remarkable archive of images and original silver gelatin prints. Many of which are now held in the permanent archives of the National Portrait Gallery, The National Library of Wales, The National Monument Archive, The Museum of London, The Guildhall, The Martin Parr Foundation and various private collections.
His images have been used in films, advertising, books, album sleeves and television and have graced many magazine covers. He has six books published to date, Chris is currently working on various long-term studies and still shooting on film with his old Rolleis and Blads
And 50 years after walking out of school, he still listens to his original vinyl copy of Culture’s Two Seven’s Clash and he still wears clogs.