View is a group exhibition curated by Matchbox Studios, starting tomorrow and running for a month. Because I like January shows, and moreover like a genre challenge, I volunteered seven pieces for the show. They are below.
The first one is, in person, 2m tall. I like working at scale. This one can draw you in with the small details, and then repel you with how poor a fit it is with any convention of landscape. This was made for the View show in particular.
My other contributions were in my back catalogue - I didn't think that I made many landscapes, but as always statistics challenge perception...
The show has the tagline "What's your landscape?" and I find that very fitting. My landscape doesn't play nicely.
All are for sale at the gallery and online for a month afterwards. They are editions of five.
JMP has been a name in articles and books, and then very occasionally as a surprise presence in shows - I think Photospace was the last time that she snuck up on me.
You will not be surprised to learn that the picture that most grabbed me was the last one as shown here at Peter Ireland's review of the show. Shimmeringly intimate, and that colour is delightful. Do feel free to buy one of those for me. Thanks.
The aggressive framing and formalism, the relentless pursuit of an idea, the touches of humour, the worldly domesticity - very inspiring.
Huge kudos to Robert Heald Gallery for bringing these to light.
The shape of things to come (Christchurch 2010)
I have a lot of de-briefing with myself to do about the These things happen show. It was a success in almost all aspects, certainly in more than I expected.
But the real question is the real question - can you make a folk photograph? I'm still not sure. Ten people came in to work with me on making one, I think that most of them had seen the show beforehand (but I forgot to ask) so that might indicate that how I see things has some resonance. All of the ten had a story about a family member (eight ancestors, two other). I didn't anticipate this, although now it's astoundingly obvious that this would be the case. Family is the most direct way that people's pasts exist in the present.
This might perversely re-assert my original thinking on this body of work, which was to try and find a role for the art photographer in a world of easy nostalgia filters. I say this because there was no family or biography in the main show, at least not intentionally.
I will be reflecting some more on the show over the next few weeks and will post again as I get a better distance on it all.
I am also going to investigate whether there is interest in other centres in having the show. If you could help me with this I would be most grateful!