New commission for Sir Terence Conran and Peter Prescott's wine bar, Lutyens.

I was commissioned by Eyestorm to create new cameraless photographs for Sir Terence Conran and Peter Prescott’s wine bar and restaurant, Lutyens, on Fleet Street in London in May 2016.  The work is on display at Lutyens Wine Bar, 85 Fleet Street until May 2017, along with previous works, Autogenesis and Lensless Molecular.

The compositions feature circles that were produced by shining light through glasses of Conran & Prescott’s Albion Wines to create the coloured orbs in the final pieces. The opposite colours are captured onto light sensitive paper in a completely dark room. Subjecting the paper to a process of chemical baths develops the latent image and fixes it for permanence.  The geometric lines and compositions are inspired by the modernist, art deco era architecture of the building, which was designed by the great British Architect, Edwin Lutyens in the 1930’s. The artworks are available to buy from Eyestorm

The Photogram Open 2014 Opens 25th January

My work "Deep Sky Objects II" from my Photogram Series "Constructing Space" is included in this show, 30 artists were chosen to exhibit from over 300 submissions. The show will showcase the Photogram as an artform and there are many different types and processes included in the show. The show moves to Silverprint in London to be shown there from the 18th February to the 15th March 2014.

The Beautiful Science exhibition opens in London tomorrow

I have made 2 separate bodies of work for this show. Supported by a Wellcome Trust People Award for ‘Beautiful Science’

"Natural Killers" was made in collaboration with Dr Alice Brown

"Lensless Molecular" was made in collaboration with Dr Rhiannon Holmes White.

Beautiful Science is a collaboration between 12 Imperial College scientists with artists from many different disciplines, each working to the same brief, is their beauty in raw scientific data? Can it be Beautiful Science?

The archetypal scientist, rational, white-coated, methodical, is generally thought to work in non-creative linear ways, while the archetypal artist, emotional, impulsive and unconventional, holds the monopoly on what is ‘creative’. But both ways of working rely on creativity and method, and both produce visual outcomes that reveal something about human perception of the world.

Supported by Imperial College as well as by a Wellcome Trust People Award ‘Beautiful Science’ presents images and original data drawn from the research of Imperial College scientists alongside artists’ interpretation of this information.

By bringing these laboratory images into the gallery, the exhibition becomes an experiment that encourages visitors to consider whether science can, in fact, be considered in the same terms and context as art. ‘My research has always tended towards preparing high quality images that represent a scientific fact. I have always been interested in the aesthetics of the images produced’, says Dr Alice Brown, a post-doc at Imperial researching immunology. 

The scientific data on display encompasses photography of worlds invisible to the naked eye and the graphs, charts and records that are part and parcel of scientific practice. The artworks range across media, encompassing film, photography, painting and design. The relationship between the raw data and artistic interpretation vary across a spectrum from literal and direct engagement to highly abstract, evocative works that bear only the echo of scientific inspiration. Biologist Martin Spitaler, who runs the light microscopy facility at Imperial, says of his participation, "I hope this initiative will manage to make science accessible to the world outside, through the pure beauty of its images, through a glimpse at these wonderful hidden worlds, through interaction with more familiar forms of art."

Featured artist:

Jo Bradford’s work blends photography with painting and printmaking, using lensless media such as luminograms and photograms. Her work has been exhibited widely in the UK and US and she has been artist in residence at Plymouth College of Art and Design as well as benefitting from an Arts Council Creative Development grant. In 2011 one of Jo’s meteorite photographs was launched aboard the Space Shuttle Endeavour as part of ‘Flux Face in Space’ celebrating the space shuttle programme. Jo’s direct photographic method in her project ‘Lenseless Molecular’ stays close to the source, adding one layer of interaction between data and artwork.

Cliché Verre in The Digital Age

The Cliché Verre in The Digital Age exhibition Opens today in San Francisco.

5 of my Cliché Verre prints are in the group show at the Jenkins Johnson Gallery on Sutter Street in San Francisco.

Other artists in the show are Abelardo Morell, Peter Feldstein, Courtney Johnson, Maggie Foskett, Suzanne Izzo, Fredrik Marsh, Fred Parker, Frank Rossi, David Symons, and Käthe Wenzel.

Cut and paste this link to see the Press Release PDF

The show runs April 7–May 3, 2011

Opening Reception: Thursday, April 7, 5:30 – 7:30pm

Jenkins Johnson Gallery
464 Sutter Street, 
San Francisco,
California
USA

www.jenkinsjohnsongallery.com

Hours:
Tues.–Fri.10 –6
Sat.10–5

Photo Alchemy Opens Today in Portland

This exhibition showcases the revival in alternative process photography. In recent years contemporary photographers have been taking a fresh look at early printing processes‚ from cyanotypes to daguerreotypes, these deep, dreamy images bring a unique style and surface to a photograph that can not be achieved digitally.

As the juror for this show, Laura Moya tells us, “I am delighted with the recent groundswell of photographers rediscovering historic and alternative processes. There is still an inherent need for some artists to use photography to explore the unexplained in life. The processes in this exhibit lend themselves to the exploration of memory, loss, and the unspoken. It hints at traces—of people, of objects, of ideas. Perhaps unknowingly, poetry becomes part of the image.

These new images explore the notion that the time spent ‘crafting’ a photograph versus ‘taking’ a photograph gives the photographer space for thought. If one is working with heavy lenses, glass plates, or a multitude of chemicals, time slows down. If one is considering how air temperature might affect one’s film, time really slows down. It is the complexity of these processes that bring gifts to the table.”

http://www.23sandy.com/photoalchemy/catalog.html

 Installation View

Installation View

FLUXFEST at the Museum of Contemporary Art in Chicago, Illinois February 15-20

This exploration of Fluxus activity includes contemporary re-interpretations of classic Fluxus scores and actions; new Fluxus performances by Fluxus artists. Performers include the Chicago Fluxus Ensemble and invited Fluxus artists.