Photo Oxford's latest edition has kicked off with a bang, but not at Maison Française as one might expect. The venue was closed on its opening day, leaving the first visitor to ponder whether Roland Barthes' words about seeing photographs "well" apply – is it better to look away from the harsh realities before us?
Instead, head down to the Jolly Farmers pub in the city's gay scene, where 74-year-old photographer Phil Polglaze has set up a makeshift exhibition of his remarkable work. His show features 90 black and white photographs of public toilets in London – not the most glamorous subject matter, perhaps, but these are no ordinary snapshots.
Between 1979 and 1996, Polglaze collaborated with a defence barrister to produce pictures that could be used in court to prove the innocence of men accused of gross indecency after cottaging. His photographs were instrumental in proving cases, often by revealing inconsistencies in witness testimony or demonstrating physical impossibilities – like one image in Blackheath which showed police claims of an alleged crime as patently false.
What strikes a viewer when walking into Polglaze's exhibit is the unmissable reality of his work – these toilets are dirty, cramped and, yes, stinky. But amidst the griminess lies a powerful story about the struggle for visibility within LGBTQ+ communities in Britain. These places were once sites of connection and refuge but became battlegrounds when their private spaces were invaded by law enforcement.
Polglaze's photographs do not shy away from this issue; instead, they reclaim ownership of these toilets – and with them, an important part of British cultural history that cannot be ignored today. The exhibition at the Jolly Farmers serves as a refreshing antidote to Photo Oxford's usual polished fare, embracing DIY ethos, disorder and unapologetic truth-telling in the art world.
By presenting such uncompromising visuals, Polglaze proves that photography can still challenge our perceptions of reality – a theme running throughout this year's festival.
Instead, head down to the Jolly Farmers pub in the city's gay scene, where 74-year-old photographer Phil Polglaze has set up a makeshift exhibition of his remarkable work. His show features 90 black and white photographs of public toilets in London – not the most glamorous subject matter, perhaps, but these are no ordinary snapshots.
Between 1979 and 1996, Polglaze collaborated with a defence barrister to produce pictures that could be used in court to prove the innocence of men accused of gross indecency after cottaging. His photographs were instrumental in proving cases, often by revealing inconsistencies in witness testimony or demonstrating physical impossibilities – like one image in Blackheath which showed police claims of an alleged crime as patently false.
What strikes a viewer when walking into Polglaze's exhibit is the unmissable reality of his work – these toilets are dirty, cramped and, yes, stinky. But amidst the griminess lies a powerful story about the struggle for visibility within LGBTQ+ communities in Britain. These places were once sites of connection and refuge but became battlegrounds when their private spaces were invaded by law enforcement.
Polglaze's photographs do not shy away from this issue; instead, they reclaim ownership of these toilets – and with them, an important part of British cultural history that cannot be ignored today. The exhibition at the Jolly Farmers serves as a refreshing antidote to Photo Oxford's usual polished fare, embracing DIY ethos, disorder and unapologetic truth-telling in the art world.
By presenting such uncompromising visuals, Polglaze proves that photography can still challenge our perceptions of reality – a theme running throughout this year's festival.
and Phil Polglaze is literally doing just that! His exhibit at the Jolly Farmers pub is like a punch in the gut - it's not always easy to look at, but trust me it's SO worth it 
. The fact that these toilets were once safe spaces for LGBTQ+ people and then became battlegrounds is just heartbreaking 
. Polglaze's work is more than just documenting dirty toilets, it's about reclaiming history and visibility 
. I'm loving the DIY ethos of this exhibit, it's like he's saying "hey, art doesn't have to be polished and perfect, sometimes it needs to be raw and unapologetic" 
. It's definitely giving me life to see artists taking risks like this and pushing boundaries 
!
the fact that he was collabing w/ a defence barrister to prove cases is wild. and can we talk about how raw&unapologetic his work is? it's like he's saying "hey world, these toilets ain't pretty but they're real" 
i love how the exhibit is all DIY & disordered, it's like a breath of fresh air after all that polished stuff at photo oxford 
anyway, i'm totally going to check out phil polglaze's other work now, thanks for the rec!!! 
I mean, what's up with the way some of these photographers try to make everything sound so pretty? 
Like, yeah, okay, Photo Oxford is fancy and all, but at least Phil Polglaze is bringing the truth to the table – and it's about time someone did. 
Those public toilets aren't exactly the most glamorous places, but the stories they tell are real, and we need more of that in art. 
I love how Polglaze is reclaiming ownership of these spaces, even if it means making us uncomfortable. 
This exhibition is like a breath of fresh air! I love how Phil Polglaze is unafraid to show us the harsh realities of the past, even if they're not pretty. His work is so powerful because it gives voice to a community that has been marginalized for too long. It's amazing that his photos were used in court to prove innocence and challenge witness testimony - talk about making a difference! 