Gerald Berghammer

Basilica di San Giorgio Maggiore, Panorama, Venice, black and white photography

2014

Black and White Fine Art cityyscape - landscape photography. Reflection, Santa Maria della Salute, Venice, Italy. Archival pigment ink print, edition of 9. Signed, titled, dated and ...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

Black and white fine art cityscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited ed...

Black and white fine art cityscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions on Ha...

An immense beech pollard, cut in its youth hundreds of years ago, has developed dozens of thick branches from its spiralling trunk. One in a line of several very old beeches in Sussex woodland that may have marked a boundary or a long forgotten track. Artwork info: Archival Pigment Print, Edition of 8 +2AP This print is unframed but can be mounted on Dibond upon request (price upon application) and further framing options are also available - Please contact us at MMX Gallery for more details or purchase here the unframed print. About the Artist: Born in Birmingham in 1973, Jasper Goodall...

Original title: Silver Path, Twilight #35 by Jasper Goodall A silver path winds its way through twisted, towering beech trees; an invitation to step int...

'Wild Night' is s series inspired by the Swedish Tradition of Årsgång. Translated as ‘the omen walk’, it is traditionally performed on new years eve or the ...

A stand of spinous silver birch gather, shining white against the inky night... Over a three-year period, Goodall has visited areas of British forest and moorland to make images that he refers to as being 'more akin to fairytale than documentary'. There is indeed an unreal quality to the images, and this is perhaps a result of using artificial lighting; it reminds one of those spooky, unnaturally lit forests we see in the movies. In the absence of any natural illumination (save for a few that include the moon), scenes are lit as if they are in a studio setting. This results in imagery that feels eerily unfamiliar; transporting the viewer from the recognisable landscape into a kind of liminal netherworld - it's the landscape, but not as we are used to seeing it. Goodall responds to this observation by speaking about the possibility of the darkness being seen as a metaphor for the unconscious mind; the 'light' of consciousness illuminates the known forms of tree and rock, but beyond these certainties lies the unknown. When your eyes have little information, your imagination takes over and fills in the gaps." - Jasper Goodall...