Brighton
1994
During the summer of 1994, I took a series of black and white photographs of a late night and early morning gathering on the Brighton seafront.
In 2019, these photographs were used in the touring exhibition Seaside: Photographed where its author Val Williams wrote: For Griffiths, there must have been inverse and bewildering echoes of army life: a focus on endurance and on a community of disparate individuals united by experience. Rave culture seemed not to be, for Griffiths, an antidote to army life, but also a continuation of an intense and tribalistic socialization process that defines groups of people who live and work together. Rave denied aspiration in favor communality, and, while it was set out to be rule breaking, it was preoccupied with language, ritual and dress like any other subculture. Griffiths found that he was much an outsider in Brighton as he had been in Aldershot. (2019:193)
1994
During the summer of 1994, I took a series of black and white photographs of a late night and early morning gathering on the Brighton seafront.
In 2019, these photographs were used in the touring exhibition Seaside: Photographed where its author Val Williams wrote: For Griffiths, there must have been inverse and bewildering echoes of army life: a focus on endurance and on a community of disparate individuals united by experience. Rave culture seemed not to be, for Griffiths, an antidote to army life, but also a continuation of an intense and tribalistic socialization process that defines groups of people who live and work together. Rave denied aspiration in favor communality, and, while it was set out to be rule breaking, it was preoccupied with language, ritual and dress like any other subculture. Griffiths found that he was much an outsider in Brighton as he had been in Aldershot. (2019:193)
