In collaboration with Silver Hill Press we have produced a journal of Box Brownie images from 1980s. A book of simple photographs made on trips to cities and sites that at that time gave me great pleasure to record and print. They continue to do so in this new digital form. The journal is available from the Silver Hill Press website: www.silverhillpress.co.uk
Delighted to work with Mao Bramall of Shimizu Flowers in Hastings, East Sussex.
Mao was requested by Tom Dixon design studio to present an Ikebana arrangement in a new vase by Dixon. Mao has produced this beautiful arrangement in the most English of blossom; Lilac.
DOVER STREET MARKET/ LABOUR AND WAIT
A pleasure to collaborate with LABOUR AND WAIT in their concession in the DOVER STREET MARKET ‘s London store for the opening of their PHOTO LONDON event.
L&W and I worked on producing a journal via the SILVER HILL PRESS of St Leonards-on-Sea with a selection of the calendar images that we have produced since 2012.
The first set of signed and numbered journals were on sale for £12.oo throughout the event.
Labour And Wait calendar 2020
The Labour And Wait calendar for 2020 references shops; the small shops that Labour And Wait love. 2020 will be a difficult year for small shops with the growth of the Internet and the horrors of Britain leaving the European Union coming fully into being. Who can tell the effect that this will have on prices and supply chains? Simon and Rachel’s concerns regarding these issues are reflected in the following images, illustrations that hold an affection for the small shop both past and present.
Photohastings – 2018
As a part of Photohastings photo-season I have produced the following three images for a show that will go up in Hastings Railway Station from November.
To learn more about the photo-season, visit www.photohastings.org
The resource images for these images were captured on a sunny day in July on the walk that runs from the end of Tackleway to Barley Lane on Hastings’ East Hill. The leafy lane has the semblance of being ‘wild’, though it is set in an environment created by the actions of people, of walkers, over many years. I have great affection for this green passage, it is a brief respite from the visual arrest and intervention of roads, traffic and architecture.
The method of construction that I have engaged with in making these images, gives them a technical or scientific appearance. It was my intention to make these patterned, ‘fractals’ from the outset. I deliberately did not want to make a ‘straight’ representation of the place but to intone that even the most ‘wild’ of places in our natural environment is in an altered state, a construct.
‘Radical Architecture: Immediate Past’
In the 2018 Photohastings photo- season, I collaborated with Alexandra Drawbridge of SOLARIS in an open competition for all Ph members to enter. Nigel Green was the successful entrant with his Europe-wide project in which he captures images from the period of Modern and Post-modern architecture.
The show ran throughout the month of November in the SOLARIS gallery space. The images on show were printed by Alexandra, working closely with Nigel, not only with regard to the tonal range and colour values of the work but experimenting with curating the proportions of the work in the showing space; harmonising the images in the space itself as production progressed.
Nigel’s new work was taken from an ongoing series of architectural and topographic photographs, a long-term focus, on the legacy of utopian modernism. The photographs were taken in the U.K, Belgium, Serbia, Poland and France. They largely document buildings from the 1960s and 1970s. The work reflects diversity in architectural experimentation driven by the ideological aspirations of social and collective thinking. The architecture reflects local or vernacular concerns and it coalesces around a shared set of societal principles, so radically different from those of the present.
Nigel states that, “The buildings and sites that I photograph function as indicators of an uncompleted project, the future oriented goals of a utopian and socially committed thinking, which as Owen Hatherley states, represents a moment of social democracy”.
Photohastings – 2017
‘Broken in Half but Beautiful’
Trinity 7 gallery – Hastings. 19 – 29 November 2017
Working with Alma Haser for Photohastings 2017 was a delight. The work on show was being exhibited for the first time, an honour for the Photohastings photo-season. Her method is to break the zero degree of depth of the photograph, applying 3Dimensional images to the surface as an extension of a photograph’s ability to intrigue and fascinate us. In this project Alma recorded monozygotic twins and worked with the idea of the intricacies of intertwined biology. As much as we are intricately connected to our parents, these twins extend that process by one more stage.
The work was presented as jigsaw puzzles, whereby each alternate puzzle piece was exchanged with it’s twin, creating a representation of the connectivity between the subjects. In a folded card section of the show Alma created 3D ‘biological’ mobiles using both twins in each piece. This was supplemented by a series of images where the image of one twin was overprinted by the other showing the anomaly that two such similar faces can present, it appeared that the artist was using the same face overprinted upon itself.
‘East and West’
The 2018 Labour And Wait Calendar is on sale now – www.labourandwait.co.uk
In Labour and wait’s traditional neutral background visual styling, the images in this publication follow an ‘East meets West’ subject matter. The objects reflect the differences in attitudes to style in Japan and Britain; L&W have a connection with Japan in as much as they have a stand alone shop and a series of ‘corners’ in Tokyo and Kobe department stores. The calendar’s images show different cultural approaches to similar tasks.
Photohastings – 2016
‘Pierdom’ on Hastings Pier
‘Pierdom’ – 2016 photo-season – Photographs from Simon Roberts’ project which was a publication and a touring external exhibition. I was proud to be able to coordinate images from Simon’s iconic survey of Britain’s seaside piers on Hastings pier itself. The show had just arrived back in England from Holland and we were able to put the work up in the autumn at the head of the pier. This timing was perfect as the shooting of the images themselves and been executed at that time of year. The environment perfectly mirrored the atmosphere portrayed in the pictures; very satisfying. The show ran from October through November 2016.
Visit the Photohastings tab on this site for more – www.photohastings.org
The 2017 Labour And Wait Calendar is on sale now – http://www.labourandwait.co.uk
It is a slight departure from their usually clipped styling. The images in this publication follow a ‘Festival of Britain’ shooting style, using the power of the shadow and challenging the current penchant for more softly lit photographs.
Working with Labour And Wait over the last fifteen years has been fun and a privilege too. They are committed to quality allied to good design. Following, is their Fifteen Years Celebratory brochure.
What a delight!
This is the Labour And Wait calendar for 2015 – http://www.Labourandwait.co.uk.
This year’ theme is colour, with the emphasis on the colour spectrum that Simon and Rachel have found evolving over the years as idiosyncratic to their enterprise.
Photohastings – 2015
Following are several pages from the recent PhotoHastings publication that supports the new photo season in Hastings and St Leonards.
This is the new PhotoHastings logo. This new photo season is managed and supported by the Photo hub group. Rather fantastically Cathryn kemp, our new coordinator, and Grace Lau have gained funding to develop a new independent annual photographic event; watch this space.
Please visit : www.photohastings.org
The following work, a design and shoot project with London based home-ware store LABOUR AND WAIT is the current Labour and Wait Calendar 2014, sold in London and in Japan through Boy’s Co. of Tokyo and Kobe.
Popeye magazine : is a popular publication based around what they call ‘Boy’s stuff’. They gather images from all over the globe of the type of things that obsess boys, blokes and men of all stripes and attitudes. The following work is a collection from an owner with a very particular eye.
In autumn 2013 I was fortunate to be asked to contribute to TELLING STORIES curated by Cathryn Kemp at the Kaleidoscope gallery in Sevenoaks. It was a two part exhibition that is part of a larger series of events.
I entered a piece entitled ‘Failure and Success’, based on stillness and motion in cinema. The work is a loop and repeat video presentation shown in the contained space of a specially constructed video viewing box.
The images show Cathryn Kemp, Duncan Brannan, Andrew Moran and David Jackson. Thank you to Lucinda Wells for the images.
The LABOUR AND WAIT calendar for 2013.
The 2013 Labour and Wait calendar entitled; Tools of The Trade, shows the everyday tools used by certain suppliers to produce items of classic home-ware to the shop. Sometimes they are esoteric and obscure at other times quotidian and mundane. They are all intriguing and prompt a desire for further investigation, sold in London and in Japan through Boy’s Co. of Tokyo and Kobe. PHOTO HUB GROUP : This 140mm square perfect bound book was produced for the Photo hub group. It showcases work by members of the group. It was used as personal and group publicity and as a hand out at all venues in Hastings and St Leonard for the 2012 fringe events during the Brighton Photo Biennial festival. Production and design costs were supported by Arts Council England.
Photohastings – 2012
A show of some of the images made by Robert Wilson in his visual investigation of forward operating bases in Helmand province, Afghanistan. The selected set of images in the show were of a particular moment when whilst waiting for a helicopter to take him to a further photographic shooting site, a patrol arrived back following several days out of the base. Their disheveled state and utter fatigue were a testament to the dogged loyalty that people are willing to take on in the name of a cause; a loyalty that is present in the ‘insurgent’ community also. The series of images previously displayed on the South Bank in London were an open set with regard to their meaning in the gallery space in the HELMAND PATROL show. The audience response was wide and varied. It ranged from a mother of a young woman soldier coming into ‘see what the environment was like that her daughter would never speak of ‘, to anti-war sentiment expressed with regularity from visitors, to a visit from a writer who investigates the violence visited on young people in the constant flow of media that they receive on a day-by-day basis. Other visitors were ex-servicemen and women and those who care for the casualties of war with regard to rehabilitation. Empathy and humanity abounded in the viewer’s responses. It was humbling to speak with those with direct stories to tell and those who deal with the remnants both physical and mental that can result from the utter fatigue of the senses in war.
This piece of shoot and design for LABOUR AND WAIT is their 2012 calendar. It is on sale late September in the Redchurch Street store and sold in London and in Japan through Boy’s Co. of Tokyo and Kobe.
Photo -season – 2011
‘Failure and Success’
The following one-man show at Stonesquid Art Space was part of the 2012 Brighton Photo Fringe in Hastings.
The LABOUR AND WAIT double-page spread ad for Selvedge magazine has clean strong lines, a simple grid and confidence in its typography; very satisfying. This is the third LABOUR AND WAIT mail-out post card with a somewhat warm and homely theme.
Photo-season – 2010
I curated this show of work by three young photographer members of the Photo hub group for the 2010 Brighton Photo fringe event, part of the Brighton Photo Biennial. For two of the group this was their first foray into the world of the gallery and its disciplines. This printed and electronic piece, designed for the opening of the new LABOUR AND WAIT store in Redchurch Street, Shoreditch London, in November 2010. There is a sense of satisfaction in its traditional values. The shop itself has no specific sense of period it is culturally and qualitatively expansive in its approach.
The second LABOUR AND WAIT post card in the ongoing series of product image mail-outs. The work produced for this client is a design and shoot package.
An installation event made in collaboration with fine artist Sarah Yates, was the signature show to the first Brighton Photo Fringe in Hastings as part of the Brighton Photo biennial 2010. The work featured two pieces of moving image video showing in two separate 18-feeet long ‘cinema’ tents.
This is the first mail-out post card designed for the London home-ware store LABOUR AND WAIT. It represents a pragmatic style statement by this new venture, a collection of well-crafted products with traditional values.