R I S H I M U L L E T T - S A D O N ES
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R I S H I M U L L E T T - S A D O N ES
The photographs in this book represent a fraction of the images Rishi made. He was passionate, exuberant, restless, extravagant. He took photographs all the time; it was what Rishi did. His passions are all here: people, places, fashion, music. But so too is that other side to Rishi that some never saw. Photographs that he took on his own, oblique, lyrical, paradoxically calm and intense at the same time. I remember Rishi in Venice excited not by St Mark’s Square or the Guggenheim but by a deserted, bleak, empty funfair. I remember my own excitement, in turn, when he showed me his photograph of a smeared window from the ticket booth. I loved this forgotten trace that he had observed, a human gesture he noticed, something he chose to preserve, to share. I found and find this photograph eloquent, resonant, exact. Rishi liked the exact: exactly the right lighting, the right composition, the right moment, certain conjugations to which he was drawn whether that be a perfect loaf of bread, glowing and magnificent, or a shadow creeping across the carpet. He used his camera to magnify and inspect his emotions, his loves, his fears. Sometimes he is an outsider: look at those photographs of strangers on the Underground or the series he took in Oxford Street, framing individuals, choosing not to see them as the crowd of shoppers but as unique men or women with histories, stories, loves, memories. But of course the crowd always moves on, the encounter is a fiction, the remote delusion of intimacy a photograph promises. This is true too of the fashion photographs: these, it seems to me, are fleeting non-encounters, images of images, the models are mannequins, aloof, professional. They appear, they disappear. But just as often Rishi is on the inside, partying with friends in a band or housemates, delighting and exasperating everyone by turn. These photographs radiate his total immersion in the moment, they are fresh, vibrant, engaged. For Rishi was an enthusiast: he was always organising shoots, exhibitions, and parties. Rishi always knew what was going on, always knew the places to be. We should be grateful that he always had his camera to hand. And we shall always remember him.
Paul Kilsby
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P H OTO G R A P H S
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BRIGHTON, DECEMBER 2010
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BANBURY, MAY 2010
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BRIGHTON, DECEMBER 2010
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BANBURY, MAY 2010
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VENICE, JANUARY 2010
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UNDERGROUND, LONDON, 2010
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VENICE, JANUARY 2010
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UNDERGROUND, LONDON,
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VENICE, JANUARY 2010
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OXFORD STREET, FEBRUARY 2011
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VENICE, JANUARY 2010
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OXFORD STREET, FEBRUARY 2011
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VENICE, JANUARY 2010
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STORNOWAY, OXFORD, NOVEMBER 2010
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VENICE, JANUARY 2010
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STORNOWAY, OXFORD, NOVEMBER 2010
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VENICE, JANUARY 2010
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CRYSTAL FIGHTERS, OXFORD, NOVEMBER 2010
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VENICE, JANUARY 2010
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OXFORD, NOVEMBER 2010
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VENICE, JANUARY 2010
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CRYSTAL FIGHTERS, OXFORD, NOVEMBER 2010
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VENICE, JANUARY 2010
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GLASS ANIMALS, OXFORD, JANUARY 2011
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LONDON, AUGUST 2010
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LONDON, SEPTEMBER 2010
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OXFORD, 2010
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LONDON FASHION WEEK, FEBRUARY 2011
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OXFORD, 2010
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LONDON, SEPTEMBER 2010
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BANBURY, MAY 2010
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LONDON FASHION WEEK, FEBRUARY 2011
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BANBURY, MAY 2010
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LONDON FASHION WEEK, FEBRUARY 2011
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BANBURY, MAY 2010
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LONDON, SEPTEMBER 2010
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BANBURY, MAY 2010
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LONDON FASHION WEEK, FEBRUARY 2011
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With special thanks to Jacky Sadones, and Josh Mullett Sadones. Photographs © Rishi Mullett-Sadones 2011 Portrait of Rishi © Emily Fairbank 2011 Tex t © Paul Kilsby 2011 Design © Greg Orrom Swan 2011 41
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