From the book ‘Photoworks’, David Moore explores the life of ‘Family and Community of the 1980s‘ Britain. In his project ‘Pictures from the Real World’, Moore elevates the routines of his daily life, stories of his relatives overthrowing the mundane home-based lifestyle of his childhood. Contextually, you retrieve a sense of history from his work, the muted colours which are harsh and sharp reflect the quality of the photography: initially captured at the time of documentation.

Moore’s family which he depicts ceases unease about the more politically manifestations of collecting working class identity. Moore hoped to reinforce the socially stabilising cement of the traditional family structure, strong, and able to stand on his feet financially, then they could have only been perplexed by reality. This brings to question issues relating into Moore’s work. The reader asks themselves: how half hearted were the governments attempts to do much about the social revolution? And what was the scale and speed of change of this lifestyle? I believe that from Moore’s images, you understand the struggles and imperfection of living a working-class lifestyle in the 80s, never the less thought out willingly that this is the only life they’ve ever led.

David Moore’s Pictures From the Real World reminds us that the stock images that are endlessly reproduced this family and life in 1980s Britain was more often captured what was exceptional rather than commonplace about that decade. Moore’s photographs show

Here is a link to an article written by ‘The Guardian’ Entitled: “Photographer David Moore’s dingy, deteriorating Derby is the real deal”.-http://www.theguardian.com/artanddesign/2013/apr/10/photographer-david-moore-real-world

“This chronicler of 80s working-class England peers behind closed doors to capture a community indelibly marked by Margaret Thatcher.”

Sean O’Hagan, the producer of this Article writes on the chronicles of  Moore’s life. My most favoured quote:

“That it does stop is down to Moore’s social conscience, which is on the side of the marginalised whose lives, under Thatcher, were rapidly becoming more precarious – and have remained so ever since. You could say that Moore’s photographs record the the beginnings of a new social class recently dubbed the precariat.”