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Stephen GillUntitled, from the series 'Hackney Wick' – Stephen Gill, Colour, Swan, Water2005
2005
About the Item
Stephen GILL (*1971, Great Britain)
Untitled, from the series 'Hackney Wick', 2005
C–type print on crystal archive paper
Image 30.5 x 30.5 cm (12 x 12 in.)
Sheet 50.8 x 40.6 cm (20 x 16 in.)
Frame 52.5 x 40.5 cm (20 5/8 x 16 3/4 in.)
Edition of 10, plus 2 AP; Ed. no. 1/10
framed
Stephen Gill (*1971, Bristol, Great Britain) likes to test the limits that photography imposes on him. As a conceptual artist – and also a bit of a sociologist and poet – he experiments with various unusual techniques in his documentation of the district of Hackney in East London. Among his working methods were burying photos (Buried), creating lavish collages with flowers and seeds (Hackney Flowers) and placing objects in the camera so that they left their traces on the film, causing confusion about the scale of the images (Talking to Ants). His aim was to encourage the spirit of the place to become trapped in the emulsion like amber creating a series of surreal interventions in the photographs. He physically inserting bits and pieces of detritus inside the camera body before photographing his local surroundings. Streets, housing estates, markets and canals provide the backdrop for images embedded with various forms of plant life, insects, plastic and even tiny fragments of broken glass from a car headlight. Objects thus appear simultaneously both behind and in front of the camera lens, creating curious juxtapositions between surface and reality. As a result, flatness counters depth to disorientate our perception of different pictorial planes. What we get is a multi-layered and heightened sense of place, form and texture that works to harness not just what the area looks like but also how it feels.
Gill’s photographs are now held in various private and public collections and was exhibited in different international Galleries and Museums such as the London National Portrait Gallery, the Victoria and Albert Museum, the Agnès B Collection, the Victoria Miro Gallery, the Sprengel Museum, the Tate Modern, the Centre National de l’Audiovisuel, the Archive of Modern Conflict, the Photographers’ Gallery, the Palais des Beaux Arts, the Leighton House Museum and the Haus der Kunst. Gill had numerous solo exhibitions at festivals such as the Recontres d’Arles, the Toronto Photography Festival and the PhotoEspaña. In Summer 2013 the Foam Amsterdam dedicated Gill a big retrospective „Best Before End“.
– Photography, Urban, Colour, Swan, Water, Sky, Animals, Architecture, Geometry
- Creator:Stephen Gill (1971)
- Creation Year:2005
- Dimensions:Height: 20.01 in (50.8 cm)Width: 15.99 in (40.6 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Zurich, CH
- Reference Number:1stDibs: LU128016045152
Stephen Gill
Stephen Gill likes to test the limits that photography imposes on him. As a conceptual artist – and also a bit of a sociologist and poet – he experiments with various unusual techniques in his documentation of the district of Hackney in East London. Among his working methods were burying photos (Buried), creating lavish collages with flowers and seeds (Hackney Flowers) and placing objects in the camera so that they left their traces on the film, confusing the scale of the images (Talking to Ants). He aimed to encourage the spirit of the place to become trapped in the emulsion like amber, creating a series of surreal interventions in the photographs. He physically inserts bits and pieces of detritus inside the camera body before photographing his local surroundings. Streets, housing estates, markets and canals provide the backdrop for images embedded with various forms of plant life, insects, plastic and even tiny fragments of broken glass from a car headlight. Objects, thus, appear simultaneously both behind and in front of the camera lens, creating curious juxtapositions between surface and reality. As a result, flatness counters depth to disorientate our perception of different pictorial planes. What we get is a multi-layered and heightened sense of place, form and texture that works to harness not just what the area looks like but also how it feels. Gill’s photographs are now held in various private and public collections and were exhibited in different international galleries and museums such as the National Portrait Gallery, London, the Victoria and Albert Museum, the Agnès B Collection, etc. Gill had numerous solo exhibitions at festivals such as the Rencontres d’Arles, the Toronto Photography Festival and the PHotoEspaña. In Summer 2013, the Foam Amsterdam dedicated Gill a big retrospective, Best Before End.
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