| PRESS RELEASE Date: preview 4th July The Gallery accepts artists submissions via email and will answer immediately. ‘Manual focus: Artistic perception portrayed through photography’ "I paint what cannot be photographed, that which comes from the imagination or from dreams, or from an unconscious drive. I photograph the things that I do not wish to paint, the things which already have an existence. "Man ray [1] Artists continue to use the medium of Photography to examine and document the world around us, but they also reveal the true nature of the artist. Every Artist develops an acute level of perception of the world around us as this is the external feed and resource of the artist. The photograph resembles the eyes of the artist, the direction and whereabouts of the artist. As artists transpire throughout their existence and seek inspiration, the photograph is often the critical outpost of the artistic persona. Photography is regarded by some as the pinnacle art form and is highly sought after on the art markets of today. Many contemporary photographers have broken sales records that run into hundreds of thousands at action for limited editions. Other Artists such as Douglas Gordon rely on photography as a secondary means of making money next to their paramount mediums, such as Gordons case of video installation. Gordon’s short series of photography helped him expand his range and market. Some photographers feel that the experience of viewing a photograph should feel as if the viewer is actually present and witnessed the very account of taking the photograph. The experience can be heightened by using large format cameras and printing to huge scale. A prime example of this experience is the work of Andreas Gursky. It seems the larger the photograph the more the viewer is given in the experience of feeling what Gursky felt as he pressed the shutter release. The viewers perception reciprocates the artists perception, similar to large painting like the Mark Rothkos at the Tate Modern. This exhibition of photography is functioning as a machine working on the edge of avant-garde and translates artistic perception; the world through the artistic eye
William Nixon William studied at Central Saint Martins College of Art & Design, Charing Cross Rd, London in 2000 for a BA (Hons) Fine Art. He has contributed to numerous group exhibitions by showcases hs work and recently had a solo exhibition at the Empire Gallery titled Lost Britain in May
Tim PhillipsAfter a lifetime as a sole-practitioner architect both in Portugal and London, Tim is taking life a little easier in East Devon. Photography, ever since school days, has always been a hobby of his (first camera was a black bakelite Kodak Cresta!). Taking and recording the image has always been the most important part of picture taking, though burning, dodging and refreshing tired B & W images in the darkroom often rescued a disappointment! In this, it was helpful studying architecture at Canterbury College of Art; interestingly, the best critics of photographs are usually artists.
Valérie Abella
Valérie Abella studied at the Institut d'Arts Visuels, Orléans, in France during 1999/2002 and completed a Diplôme National d'Arts et Techniques Valérie Abella is an artist using photography and at times video. She still works fulltime to feed herself. A bereavement in her family induced her to ponder upon the value of living. She decided to move to Reunion Island 3 years ago, wanting to see if life was different under unfamiliar stars, clouds and sun. Life is a series of moments, each containing past and future. Valérie’s photographs are an attempt to seize some of these moments so she can tie herself to them and feel real. When she takes a picture of a piece of grass, it becomes hers for the second when photography makes it still and immortal. During that second, she belongs and is that piece of grass, in some way she’s photographing herself. When she imprints some of the reality around her on a sensitive surface, than is able to reproduce it, it’s a kind of re-creation. The sharpness of details and the closest possible accuracy in reproducing the light and colors are essential to Valérie. She never digitally alters the images other than what is strictly necessary to edit them and bring them closer to what the subject looked like when the photograph was taken. She often takes her car and drives around, looking for places where human presence is barely there to be felt. Then she starts to wander around and try to become aware only of time and space around her. She tries to reach some kind of inner silence, and starts to take photographs, until she feels the place is used up, that anything it has to say has been recorded, at least everything she’s able to see. Valérie tries to capture these specific samples of time and space for others to see and feel.
Alys Tomlinson
Alys Tomlinson currently works as an Associate Lecturer at Central Saint Martins College of Art, London from 2004. Alys studied at Title of series: ‘Fans’ Alys is a freelance photographer based in London. She combines commissioned work with personal work, which she publishes and exhibits. Her work is mostly concerned with people and places, crossing photographic genres of portraiture, landscape photography and street photography. She was recently named one of 30 Photographers to Watch by Photo District News and was also a winner in the 2007 Magenta Awards. The Fans portraits were taken outside music venues across London from 2004-2007. The photographs address themes of style and identity and the portraits span all ages and musical genres. Many of the fans queued outside the venue for hours before the doors opened. The photographs not only demonstrate the loyalty and dedication of each fan, but also offer a unique insight into modern notions of individuality, fashion and popular culture. Liam Smith
Liam Smith recently graduated in BA Hons Photography from Nottingham Trent University, 2009 and was selected for Free Range 2009 Art & Design Degree Show, The Old Truman Brewery, London, June 18th-22nd 2009. Title: Presentiment A premonition; waiting for an event to happen. The photographs themselves suggest of an event about to unfold, they have a replication of the 'freeze -frame' quality that is naturally associated with moving images. Rather than capturing the ‘pregnant moment’, or ‘decisive moment’, the work aims to create an ‘indecisive moment’, where the content of the shot suggests that it stems from the narrative of contemporary cinema, alluding to the presence of a past and future, yet offering only a fragment of the entire narrative. The assumption of narrative within the work allows the viewer to experience the past and future of the film in the present. The piece aims to involve the viewer, insofar as each individual possesses their own knowledge and experiences of classic and contemporary cinema. This experience of the cinematic aesthetic and narrative allows the viewer to fabricate their own possible past and future events of the film, opening up the concept that no two people will experience this piece in the same way.
Matthew Stevenson Recently graduated from a BA (Hons) degree in Photography at Nottingham Trent University, his practical experience is broad; including over 4 years of studio experience along with a wide of location shoots working under strict deadlines. All supported with a sound knowledge of processing and printing both film and digital. 'Future Perfect', a grammatical term used to describe an event that has not yet happened but is expected to occur in the future. The majority of all photographs stem from the single desire to recognise and to boast, they represent a past event, a fleeting moment that the camera has the ability to record and therefore immortalise. The Future Perfect series looks at photography's role in social documentation and as a tool in social reform. The images appropriate a culture's vision, presenting the viewer with a number of scenarios that turn what is seen into a spectacle, therefore allowing the viewer to embody their own culture and recognise themselves within each scene. The price tags remaining on items within the scenes emphasize a future of constantly changing codes of meaning, a future that can only be consumed and never owned. The scenarios address the viewpoint of the viewer and take into account what Jacques Lacan termed the 'Ego-Ideal', creating a fiction where the viewer is able to look at themselves as if from an ideal point and create an impossibly unified self.
Tim WatsonPhotography has been the principle medium with which Tim has worked since studying art at university. It’s initial appeal the immediacy, Tim regards the photographer’s art as curatorial - a collector of images rather than creator. As such his work generally consists of series’, groups of photographs linked aesthetically and thematically such as previous explorations of derelict buildings both at home and in Cyprus.
Please use the press release for articles relating to contemporary art and Exhibition listings Thanks Lloyd Gill
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©2009
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