POP 798 Friday 13 January 2012

Today’s POP is Rachel. Monochrome dreams.

Where did you begin for the creation of your window display? How did you intend to present yourself as a brand? As a space?

For my Selfridges window, I wanted to step away from photography while keeping my aesthetic and my influences. My photographs always have a narrative, even if it appears elusively – it's about creating a mood and stepping into an emotion you cannot escape; a state of mind which is predominantly my own. It needed to be autobiographical and a self-portrait of sorts.

The attention span of shoppers on London¹s most famous high street can be notoriously short. How does your window grab their eye?

By striking subtlety! My window installation is very dark, which is a change from the usual bright colours and big signs on the High Street. I think there's something intriguing about darkness and what lies within it. I hope I’ve created intrigue for passing pedestrians. In my case there are no products in my window, I'm not selling any carefully placed items. It's intended to reflect a still from a film, so the interest lies in trying to figure out the plot.

Did you enjoy the transition from creating your own photographic work to translating your ideas to a static space? What further informed you in this progression between mediums?
It's been incredible! It has made me access and question the use of my own aesthetic, my obsession with darkness and the very essential and careful use of light in my work. I’ve realised that my camera is simply my tool in portraying an aesthetic I'm trying to achieve. It isn't about photography. My aim with this installation is to break down barriers between different artistic practices. With this instillation I draw and comment upon photography, film, poetry, theatre, painting and sculpture.

The creative team behind Selfridges’ windows are world-renowned. How did you collaborate with them to achieve your vision?

The Selfridges team has been an incredible support throughout this whole project. This is my first-ever installation and I'm incredibly lucky to have had them to help make this happen. From the moment I proposed my idea to them, we've agreed every step of the way – which I couldn't have been happier about!  I always work alone, so it has been a challenge to share my vision with others before it’s complete. I've had a great group of assistants who have helped me with this project without whom, this would not have happened!

You've gone from presenting your work to a somewhat niche audience, to then taking it to the masses in the biggest way possible? What have you learned from this journey? Has it altered your outlook in any way?

It actually hasn't altered my outlook. My work and its context are very personal and important to me. I haven't attempted to make it more mainstream or commercially friendly because I wouldn’t be staying true to myself or what I do. All I can hope for is that my work will entice people into my world and the stories I create. I don't want to please the whole world, just overwhelm a great few.

Which of your own pieces currently stocked in Selfridges did you chose to include as part of the display? Can you explain some of the references or design process behind these garments? 

I have twelve limited-edition hand-painted sculptural pieces that are painted in the same style as the set in the window display. They’re objects that could have been part of the room. Each one is unique, and is signed and dated as collectable items. Three of them are great books that are favourites of mine. The collection is deeply personal.

www.nuharazik.com

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The Bright Young Things windows will be displayed until the end of February. For exclusive pieces created for this project, visit the Oxford St flagship or