On a rainy night in SoHo a young couple wander the gleaming, cobblestoned streets. With large eyes and a black mane of hair, the woman gallivants around while the man follows her, taking pictures. They are seeking a moment, a look, a connection., and a torrential six-hour rainstorm has finally passed. On a street corner, a woman is selling pink roses. The man buys three and gives them to his female companion.
“I saw this girl, very funny, talented, intelligent, smiley when she wanted to be,” he remembers. “But I wasn’t particularly confident in the pictures and not quite sure what I had.” Despite a turbulent family life with two brothers and a sister, Moriarty remembers his upbringing as “ridiculously privileged”, peaking with his arrival at Clongowes Wood college in Co Kildare.
“You work at presenting a falsehood,” he says, “doing whatever you can do to fall in line with whatever is going on around you, you hide in plain sight.” Those Goldsmith art studies inform his photographic work to this day, allowing him to draw on compositional rules and ideas of the great painters even in very modern settings.
“She said she wanted something authentic, she didn’t want to be a cookie-cutter artist being churned out by the industry,” he remembers.The young Irishman was nervous – a nobody sitting opposite a nobody determined to go places – so, as the twilight sun turned golden, they headed out to shoot a test roll, bumped into a neighbour and borrowed their two Scottish terriers.
The two remained friends but lost touch as success brought her new friends, touring and a second album. Moriarty still remembers his first time hearing Rehab on the radio and saying, “she is about to go stratospheric”. The intimacy is what stands out from the Winehouse images – even if it is impossible to see them now without hindsight of the tragedy awaiting her.
Source: Entertainment Trends (entertainmenttrends.net)
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