Light at the End of the Tunnel | 2020 started full of light and optimism.
The success of mountains of the moon at the Royal Geographical society London and Nature unwrapped at Kings Place London felt good and the gallery showed promise.
The light changed with lockdown. The positivity turned negative, transparency faded. Survival of the studio paramount, the thoughts of producing new images underexposed. But gradually things opened up f32 became 22, even 16. One of my assignments was working with surrealist painters and one sentence startled me like a Victorian photographers stick with tray carrying flash powder ready to explode in a blinding eye shocking burst of light.
It has kept me awake at night – amongst other things.
Some of my photography has been described as looking like paintings like Salt pans / Lolui Island rocks others, razor
sharp realism like the chameleons. On various projects we work with artists who like Dali achieve hand drawn colour photography.
It’s human vrs machine? or is it Obscura or photogrammetry scanner? Tools of the trade.
My mother hand picked some stems from her carefully nurtured garden. Lovingly tended.
I set to work at the studio to collate my own hand drawn colour photography of the unconscious titled by studio adventures during the pandemic.
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CURRENTLY SHOWING AT KING’S PLACE, LONDON:
Nature Unwrapped | Artist’s respond to the world around us, so it is not surprising that nature has and continues to inspire generations of sculptors. Steve is showing his work with other artists including Bryan Kneale RA, David Mach RA, Susie MacMurray, Julia Brook, Charlotte Mayer, Breon O’Casey, George Taylor and many others.
The shoreline has always been a favourite place of mine, childhood visits to the Devon and Cornwall coast, our family holidays to the west coast of Scotland. Indulging with great enjoyment at these past events brought out some of my original 35mm Kodachrome 64 transparencies. Sandwiched between sheets of glass these rich and vibrant beauties gave me inspiration to create a larger version of some of my more recent adventures to Zanzibar and Lake Albert in Uganda.
We treated the aluminium backgrounds with silver to create a granular effect of silver halides. We chose different thicknesses of glass to give a feel of projection and three-dimensionality. The film’s silky black contre-jour feel still subtle with tonality. The colours rich and sumptuous in a way that Africa always offers in abundance.