He explores the eastern lowlands of the British Isles, an area which holds deep traces of the old as well as the new, the ancient and future and the world that lies in between. Each image hints at these dichotomies. In Plate I. Cathedral (2015) the thick pillars, archways, vaulted ceilings, with the stained glass held by them, make up the nave of this venerable space. Through removing many of the characteristics associated with images of its everyday functionality, this empty space becomes one of universal contemplation where future possibilities can be glimpsed and grasped.
Hey Charlie is a celebration of fifty years of Cory Wright’s involvement with a particular bend in a river and the field beside it. These joyful images are the culmination of a lifetime of experience of the place in which he grew up and to which he has stayed connected throughout his life.
As reflected in the title. Cory Wright calls his brother’s name – a child’s shout, an adult’s beckoning – to coax him into causing a stir in a place they know so well. They are allowed once again to be little gods. They create interruptions in the otherwise placid landscape; set off rockets into an evening sky; peer inquisitively into a haze of smoke creeping around a river bend. These striking and transient impulses, and the photographs in which they are captured, were intended to shake off the burden of the past and of nostalgia, and to provoke the making of new memories; to re-imagine, reshape and reawaken a much-loved place.
A six month circular tour through the landscape of the British Isles. Starting off at the spring equinox in Shetland, down through the borders into Northumberland, Yorkshire then out west to Cornwall. The journey started off as document to list the variety of sights we see in the British landscape, but soon became a personal of quest to find its very heart. Southern England through a hot midsummer before back north west to the black granite of Skye and all its sense of place and prospect.
“This camera reveals a strong sense of place. I am intrigued by its ability to drink in and reveal such detail. In this series I want to use this almost tangible, realistic quality of the photograph to explore notions of the imagination, the ethereal and the unspecific. What are the places we think and dream of? What are the landscapes of our mind? I chose to photograph places therefore that I had a strong perception of even before I had been there.
This is therefore less about specificity, time and place… more about breadth, emotion, preconception… and having a ‘place in mind'”