58 x 71 inches / 148 x 180 cm, Edition of 3
33 x 40 inches / 83 x 100 cm, Edition of 7
C type from 10 x 8 inch negative
This is a small pond on the edge of the woods surrounded by oak trees. Left to right, dark to light.
A new series for 2020 Photo London.
For what seems like a long time I have looked for intense, peaceful moments in landscape. This desire has led me to many places in the British Isles. For the most part I have gravitated to woodlands, rivers and salt marsh, generally avoiding higher ground. The reason for this is not because I dislike a good view, but rather because this camera and lens has a fantastic ability to make you feel you are part of the scene you are photographing. It’s to do with perspective I think; the complicated relationships between foreground and background
In these new pictures I have become interested in how far I can pursue this idea of immersion when looking at vast open spaces of simply air water and cosmic activity.
They are all taken close to home overlooking the North Sea at moments of intensely high atmospheric pressure.
The fleeting nature of ‘place’ in tidal landscape.
More cosmic than organic.
Anglia is a series that juxtaposes aspects of East Anglian history and landscape. Medieval brass memorials of knights in armour, early fenland water pumps of exquisite mechanical beauty and American Bomber cockpits in deep blue moonlight come together to evoke a place of fantastical adventure.
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.
“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'”
2016. A series of drawings and photographs of saltmarsh in North Norfolk.
Book available here.
Concentrating on the feeling of density in a 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.