Artist of the A-listers: Alexander Wessely on his most extensive exhibit ever at Fotografiska

I meet Alexander Wessely on a nondescript street, edging on a bougie part of Stockholm. Entering his office and studio setup in a brown brick building, I'm confronted with sculptures that literally tower over me – as the very tall Wessely does too. He is dressed head-to-toe in various intensities of black, his hands are adorned with rings and a scattering of small tattoos. A sense-boggling blend of incense is detectable in the atmosphere. "I've mixed several, it's kind of an explosion," the artist confesses, smiling.

Wessely grew up in Stockholm, first in the suburb Hammarby, then in Gärdet, a neighbourhood enmeshed with parks and functional 1920s housing. ‘It was a pretty traditional upbringing. I wasn’t especially eager to participate in school, my mother had to convince this high school, Media Gymnasiet in Nacka, to take me," he explains. "I chose photography because it seemed relaxed. Not easy, but the pace was different." Wessely went from a reluctant student to one who excelled in the art, and after graduating he worked as an assistant in various photography studios, while he and a friend set up a small photo studio of their own on Gärdet. "A famous fashion photographer lived in the building, and one day we piqued his interest. He walked in and basically schooled me," the artist shares. Although slightly intimidated, the wisdom his neighbour bestowed on the budding photographer really helped. ‘In that moment, he gave me a completely new perspective on light, and how to use in my photography. I’ve carried that with me ever since.’

Wessely's orbit soon expanded beyond Sweden "My girlfriend and I would save up enough money, leave Sweden and move to LA for a few months, essentially living in a car in Venice Beach," he says. Romantic, but by no means ideal. But then came his big break. "One day I received a phone call from this famous producer NO.ID (Dion Wilson) who had seen my work… from then on everything changed."

A whirlwind of celebrity and tours ensued. "I worked with so many of my heroes during those years," he marks. Wessely quickly became a record label darling, called on to photograph everyone from Drake and The Weeknd to Rihanna and the late Tim Bergling (Avicii). "It was crazy, but I also learned so much, about myself and the medium of photography. Using one light source, and relying on natural light guided my process, it still does." But after 10 years, it was time for a deserved break. "I had to get away and create space between myself and all the people I was photographing. I mean with every new project more demands piled up; you tend to lose yourself in that kind of environment after a while."

The hiatus came to a close when Wessely was contacted by Vogue Italia and soon enough, found his way back into fashion photography. "Funnily enough, working in fashion again, after such a long time in the world of music, made all the recording artists want to work with me again," he reflects. These days, Wessely is much more selective, "I refuse to take on work that doesn’t allow me complete creative freedom and control," he says earnestly. "I use every new commercial job as a testing ground. Each new project allows me to grow and try out new things, like the music video I directed for Swedish House Mafia." The video for the group's insanely popular song ‘It Gets Better’ won the artist a Swedish Grammy. Ahead of our interview, I came across a YouTube clip of the award ceremony in 2022, where Wessely was notably absent. "I didn’t want to go. I am so proud of the work, but I didn’t do it for an award… also, if I’m not mistaken, I think I had a cold," he says, jokingly.

The integration of his commercial work and personal artistic practice is best showcased by Kortex, Wessely's most extensive exhibition ever which opens this week at Fotografiska. "The exhibition encompasses so many different elements of my practice’, Wessely comments excitedly, referring to the video works, light-and soundscapes, and marble statues comprised in the showcase. For the latter, the artist has been working with a marble studio and quarry in Greece: "I’ve spent so much time there, learning everything there is to know about the craft."

After a career spent working with some of the world's biggest musical talents, it seems natural that Kortex examines how humans worship idols. The exhibit takes the viewer on a visual whirlwind; tactile elements such as changing flooring and stage walls set the scene for enormous photographs and the previously unseen stone and marble sculptures – including one of friend Abel Tesfaye (The Weeknd) – all flanked by an all-encompassing light installation. Another layer of the exhibition comes from the most delicate soundscape, an installation made by Wessely in collaboration with his dear friend Dani Moon (also known as singer and songwriter 070 Shake). "She is truly a wonderful, brilliant human being and artist; our conversations are so meaningful and have anchored me over the years," he says of Moon.

Kortex opens on Friday 12 May at Fotografiska in Stockholm.