We have fallen in love with X , an extraordinary new book by the the Irish born photographer, Charles Moriarty.

X showcases over 130 intimate portraits of over 50 men. Throughout this poetic narrative we catch a glimpse of Charles’s world and journey. From candid to intentional, this book is as much about the people featured as it is a reflection of the artist’s life and struggles.

Amongst his many other achievements, Charles has brilliantly documented and recorded London’s music and social scene for almost two decades.

He has worked with Amy Winehouse, Hercules and Love affair, the TATE, BFC, USB, VICE, DIESEL, KTZ, Aitor Throup, Damon Albarn, 1814 magazine, Flaunt magazine, High Snobiety, Lee Roach, Benjamin O'Mahoney, Phoenix magazine, Natt&Dag, and many more. In 2014 he worked for Lucas Film, as stills dept manager on Star Wars episode VII, The Force Awakens. His work is part of the permanent collection at the National Portrait Gallery.

In 2017, Charles self published his first book, Before Frank, revealing for the first time many of his unpublished photographs of Amy Winehouse. In 2018 the book was republished by Octopus Publishing, under the new title, Back to Amy, with over 50 new photos added.

X is coming out in late November and we can’t wait to get our signed copy.

We met with the photographer himself to discuss it further.

Wellcome, Charles, please tell me a bit about the concept? How did this book come about?

‘X’ was born out of a need to tell a more personal story. I had for some time been toying with several ideas, and asking myself questions that related to my work, trying to gain a better understanding of why I had spent the last decade photographing men. Why was this important to me? The book contains a very personal journey that steps back through a decade of work and explores my evolving relationship with myself, men, and my sexuality.

You have comprised 10 years of work in one collection, how difficult was it to edit, what was the journey of putting it together?

One of the hardest parts of the editing process was figuring out where to begin, and who to include. At one point I was looking at more than just ten years of work, but older and deeper familial connections, which in the end were left out. In early May I spent many days in my kitchen going over work, trying to understand what it was that could tie it all together. The second image in the book, a hand outstretched became the cornerstone, and from there I was able to build. The hand represents an invitation to go on a journey, deciding what that journey was and its contents, was slowly solidified. Structures within the book itself were changing all the way up to the day before I completed the Artwork for the printers, so the process took five months, roughly. In the book’s journey there are themes, some more personal than others, and many that can be related to by anyone. My major job was selecting images that would work together to enhance the experience of the viewer and to help the thematic elements to blossom.

Can you share any anecdotes or stories from behind the scenes?

Well, as they say, every picture tells a story. Each photograph can be viewed singularly, although some are part of a diptych, which is evident. Some images are more staged/controlled than others, but possibly not the ones you’d think. My self-portraits for instance are more than often very quickly shot, but I think the ideas within them are thought about at length, the image taking, is done in very quick and decisive moments. Some images are full of intimacy, and relate to my own sexual identity, and journey. The images of Joe where I have pegged his face came out of conversations I had with him, and are very reflective of who he is. We spent the day in the studio with some props and rum, finding out what would work visually, but also enhance his character, it would be one of my longer sessions. Normally when I take portraits the production time is fast and a lot more spontaneous. In downtown L.A. I visited the drag queen Pinche, within 15 minutes we had said hello, found the light, set up the shot, taken a test, grabbed the cat, and I was on my way. Each day is different.

You feature an eclectic and diverse collection of men? What was the decisive criteria?

Due to the personal nature of the book nearly everyone in it is a close friend or someone I’ve had some kind of relationship with, with exception for some of the models, who are people I’ve met through instagram or just daily life. Often the criteria for choosing the images didn’t come down so much to who was in the image but what was in the image, what was at the heart of it. Did the image speak about desire, loneliness, what did it emote, where am I taking my viewer.

Reflection seems to be large part of the books dialogue, can you go into that?

The idea of mirror images and even reflection within a substance like water has always intrigued me. As a teenager I remember facing myself through my own reflection and in doing so changing who I was, very suddenly I became the person I wanted to be, it was a strange moment. Within culture and literature we see many instances of the mirror being use as a means of transference. Immediately I think about 'Alice through the looking glass', and 'The Matrix' and many others instances where worlds we exist in are mirrored. Then there are characters like Narcissus, often talked about in relation to narcissism, but within queer culture we recognise it for something else.

Certainly within gay culture ideas of identity can be pulled upon and often examined through reflection. In one of the photographs Tony Soto studies herself in the mirror, make-up complete. Perhaps the person looking back in that mirror is truer to the identity of Tony. In the beginning and the end of each day we face ourselves, through a mirror, finding the faults in our lines. We watch time slowly disintegrate us like everything else.

Self portraiture is evident throughout the pages, what is its significance to your work?

Taking self portraits has helped me to understand myself and my craft. It was part of my learning and the images are reflective of my own interests and influences, my emotional states. For many years I hated being in front of the camera, I hated the way I looked and was incredibly insecure, the process of forcing myself to see myself differently was enlightening and gave me confidence.

Coming to terms with your own sexuality, has been something of a struggle, do you think X is a celebration of your own liberation from the social stigma you experienced?

I think the struggle to be ok with my sexuality is ongoing. Unfortunately it takes a long time to change certain patterns of thought, particularly the ones that go against your own nature but that were hammered into you as a child. X certainly celebrates the journey toward liberations but I don’t know when that will end. When ideas of being on the outside, of shame, of guilt, of self hatred will entirely disappear. Being gay is something I’ve struggled to claim as my own.

The second photograph in your book is a photo of a hand. It feels like a helping hand, perhaps a father’s hand, asking you to rise. Can you please tell me something more about it?

The hand image is related to many things, and I’m sure many people will interpret it differently, but for me it has always been the hand of a guide. We all search for guides in life, and I think this is in some ways myself reaching out a hand to the viewer, but also with the self portrait before it, it represents a yearning to find my own guide. As a gay man you could interpret it as a ‘father figure’, like I said each person will find their own meaning in it.

The book takes place over a ten year period, how has your craft changed during that?

Exponentially. My approach to taking photographs has changed a lot over the last decade, and I'm much better at utilising my tools. Most of the time I no longer have to think too much about them, although, focus is always my personal downfall that I still berate myself over on a regular basis. I’m getting better at being slow and taking a breath before I click. The more I shoot the better I get, its like anything I guess, practice makes perfect, and I’m not so afraid to make mistakes now. My biggest problem in the past with regard to my craft was myself. It took a long time to get out of my head, and even now there are times when i get stuck in it. I really enjoy mixing it up, and everything is very dependant on where i am personal, both physically and emotionally.

What advice would you give to your younger self and to people starting out?

I’d have a lot of things to say to my younger self, too numerous to name BUT i think I’d try and tell him to love himself, and not give everything away to people who aren’t deserving, also to not be so afraid to fuck everything up.

What is next for you?

I have several more books in the pipeline, and a couple of other projects I started during lockdown that I hope to get back to soon. Hoping to work in Italy for the first half of 2021, but not much can be put into stone with Covid in operation.

When is X ready to purchase and where from?

X is arriving from the publishers around the 22nd of November, and will be available to purchase online through my shop, beforefrank.com. It will also be available through few select outlets in London, there are only 1000 copies, so I’m looking after distribution myself.

All Images curtesy of Mr C. Moriarty

You can follow him on Instagram @charlesmoriarty

PEOPLE