Klick Magazine - Dr Graham Wilson

William Whatley’s exhibition piece, titled with the memorable caption The Elephant Pest Control Man, began with a story his grandfather told him as a child. The whimsical tale of imaginary pest controllers lingered in his memory and resurfaced when his grandfather was diagnosed with cancer and moved into a care home. William, then a student in Falmouth, found himself commuting regularly to St Helens to spend time with him. These visits provided the circumstances for a sustained documentary project rooted in care, memory, and community. Unable to travel widely, William began photographing the environment of the care home and the surrounding community. This immersion shaped a body of work that was intimate and deeply personal, yet also expansive in its depiction of collective life in northern England. Access, however, was far from straightforward. Securing permissions to photograph in a care home took four months, a process that tested patience but ultimately enriched the project. By the time he was allowed to work with his camera, William had become embedded in the community, known on a first-name basis by residents and staff. This long process of trust-building ensured that the images emerged from genuine connection rather than surface observation. He reflects that documentary work often condenses years of slow engagement into a handful of images. In his case, the delays were not obstacles but essential to the integrity of the work. They allowed him to become part of the world he was documenting, ensuring authenticity and respect for vulnerable subjects. Looking ahead, William is relocating to Manchester to pursue a Master’s degree focused on participatory photography. His aim is to facilitate creative practice within communities, making photography a shared and empowering process rather than a solitary pursuit. He draws inspiration from socially engaged practitioners such as Anthony Luvera, particularly those who work with groups affected by conditions like Alzheimer’s. William also praises the role of his undergraduate course, particularly the dedication of lecturers whose support shaped both his project and his decision to continue his studies. He emphasises that facilities matter, but the commitment of staff is what sustains students through challenging projects. His trajectory points towards a career in community centred practice, where photography becomes not only a means of expression but also a tool for social connection and collective care.

Interview continued in 6th edition of Klick Magazine, all text copyright of the author.