Harley Weir’s strikingly organic compositions seem to be made out of the same colour and textures as an Egon Schiele painting. Her photographs are mysterious and unguarded, and there is something very personal and pure about the way that she captures her subjects.
Harley has done stunning editorial work for publications like AnOther Magazine, Australian Vogue, i-D and Dazed and Confused and she’s worked for clients like Stella McCartney and Topshop. We like her hushed and secretive personal work the best though, as it takes pleasure in simplicity, in the fall of a shadow, the movement of wind, or the patterns created by the freckles on a young girl’s cheek.
In an interview with Bullett Magazine which you can read here, Harley describes what she is trying to achieve with her photographic work: “I just want to move someone. It doesn’t really matter what emotion it is really – whether someone’s disgusted, or it reminds them of love or anything like that. Any emotion, I would be very happy. It’s so difficult to move people.”
- "Where’s my community?": Skin Deep and POC on the need for diversity in the film industry
- Jee-ook Choi conveys complex ideas using fine linework and muted colours
- Photographer Mehdi Lacoste on working with Actress
- French designer Victoire Coyon’s understated portfolio
- Unit Editions’ upcoming book on the unparalleled work of Paula Scher
- A creative composite of illustration: ten years of Christoph Ruckhäberle’s Lubok
- A new national identity: Smörgåsbord Studio rebrands Wales
- Graphic design gems: Chicago gang business cards from the 1970s and 80s
- Photographer Dougie Wallace captures the super rich spenders of “Harrodsburg”
- “Romance in a sort-of fantasy world”: photographer Molly Matalon's new work (some NSFW)
- Studio Michael Satter’s sophisticatedly simple graphic design portfolio
- Harry Pearce and Pentagram create a new identity for Pink Floyd’s record label