Dwight Baird 'Laundry on High' 2005- Giclee- Signed

2005

Paper Size: 11 x 17 inches ( 27.94 x 43.18 cm ) Image Size: 10 x 12.5 inches ( 25.4 x 31.75 cm ) Framed: No Condition: A: Mint Additional Details: Signed, Numbered out of 150, Dated ...

Paper Size: 24 x 18 inches ( 60.96 x 45.72 cm ) Image Size: 24 x 18 inches ( 60.96 x 45.72 cm ) Framed: Yes Frame Size: 25.5 x 19.5 inches(each) Condition: A: Mint Additional Detail...

This reprint of the 1972 exhibition poster titled LOVE by Robert Indiana was created to promote an exhibit held at the Louisiana Museum of Moder...

This is a reprint of the original exhibition poster Homo Decorans by Keith Haring, created as part of the Louisiana Museum of Modern Art’s celebration of their most iconic exhibition...

Hand-coloured tableau of a weeping spirit and her guardians, immobilised in marble. A disjointed narrative looking at recovery and protection, the angels shield the spirit with tender embraces and cry for her when alone. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical...

Hand-coloured portrait of a bird-like spirit, immobilised in marble, cleansing in a spring-time bath. A character formed from Naiads (a Greek nymph of flowing water), and exploring the idea of a ritualistic cleansing to wash away sombre deeds. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Toe Head, The Isle of Harris, The Hebrides, Scotland by Alex Boyd Series: No Innocent Land This image, made on the Isle of Harris in the Outer Hebrides shows the hill of Ceapabhal on the Toe Head peninsula. Print details: © Alex Boyd, Courtesy MMX Gallery Archival Pigment Print from the Wet Plate Collodion, Artist Proof, Hand Signed by the Artist Image: 82 x 58 cm Frame: 116 x 91 cm Frame; Original Frame, slightly distressed from being vintage out of the Scottish castle; the print accompanied with the mount board and finished with antireflective UV protective AR art glass Shipping worldwide; the framed print would be crated and shipped by professional shipping company, Free delivery in London postcodes and in a selected areas in the UK. Free pick up from the gallery. About the Artist: ALEX BOYD Alex Boyd's images represent a major addition to the tradition of modern landscape photography" – Robert Macfarlane, Author Alex Boyd is a landscape and documentary photographer, printmaker and writer. His work is primarily concerned with the Scottish landscape. As a photographer his work examines the role of early Scottish landscape photographers, often using antique processes such as the Victorian wet-plate collodion process using antique cameras in mountain environments. He is best known for his conceptual and figurative landscape photography which explores concepts of Scottish identity through historical and contemporary romanticism, neo-romanticism, Romantic nationalism and Spirit of Place. His work is largely concerned with depictions of the Celtic landscape, conservation and remote places, and is often characterised by its stark, poetic and introspective qualities. In 2019 he was awarded a Daiwa Foundation Scholarship to work and photograph the mountains of the Japan Alps centred on Mount Yari as well as shortlisted for the Hariban Award. He was the Mountain Photographer of the Year at the Kendal Mountain Festival in 2013, the UK’s largest mountain festival. His work on the Cuillin mountains on the Isle of Skye as the Royal Scottish Academy’s artist in Residence is in several National Collections. His work has been widely exhibited internationally with solo exhibitions at the Scottish Parliament, as well as group exhibitions at the Royal Academy, Royal Ulster Academy and the Royal Scottish Academy. His work is held in the collections of the National Galleries of Scotland, The Royal Photographic Society, the Royal Scottish Academy, the V&A in London and the Yale Centre for British Arts in the USA. His first book St Kilda – The Silent Islands was recently shortlisted for a Saltire Award. His second book The Isle of Rust, a collaboration with writer Jonathan Meades was, like his first book, named as a photography book of the year by The Scotsman. He is a Fellow of the National Library of Scotland, The Winston Churchill Memorial Trust, The Ballinglen Arts Foundation, and the Royal Society of Art. He is currently working on a PhD on Scottish Photography at Northumbria University, a selection of new books on The Faroe Islands, The Outer Hebrides. A collection of his Scottish and Irish collodion work is due out in 2021 as well as a solo exhibition ‘Hesperus’ at Stills, Scotland’s Centre of Photography, in June 2020. A contributing Arts Editor for The Island Review, Boyd has also written for Art North, The Modernist, Earthlines and many other publications. WORK REPRESENTED IN THE FOLLOWING COLLECTIONS: The National Galleries of Scotland, The Royal Scottish Academy, The Royal Photographic Society, The National Media Museum, The University of Glasgow, St Andrews University, North Ayrshire Council, Dumfries & Galloway Council, The Ballinglen Arts Foundation, Sabhal Mor Ostaig, The University of the Highlands & Islands, Highland Print Studio, Cape Farewell, The Scottish Maritime Museum, NHS Greater Glasgow & New South Glasgow Hospitals, BC Partners, Cigna, The Yale Center for British Art, The V&A *** NO INNOCENT LAND The series 'No Innocent Land' is a journey across the islands of Scotland using an antique process to document the dramatic landscapes of Scotland. Using a 100 year old camera...

Ancient Woodland All the elements used were collected from the first walk with my Mum and stepdad between lockdowns. All from a small woodland in North Norfolk. Ancient Woodland, 2020 Series: Detritus Archival Pigment Print, Mounted on Dibond in custom made Frame; with Black Stained Oak and antireflective UV protective museum standard Art Glass Print 60 x 60 cm / Framed: 62 x 62 cm/ 24.5 x 24.5 inches approx. Edition of 8 + 2AP About the project: "Detritus' series was born from the twin frustrations of lockdown halting all planned projects, yet litter still somehow being dropped in abundance on my street. With no idea of the final output, or indeed the hygiene implications, I started to collect, scan, and record what I found. When I realised these colourful misshapen objects could be turned into something beautiful, the frustrations left me and I began looking for other sources of Detritus. These collages gave me purpose during the pandemic and allowed me to grow something beautiful from a place of frustration. My aim is to simply give viewers of the work a fleeting moment of calm. Unable to shoot anything, I’ve been making collections of things I find on the ground and scanning them to create composite images of otherwise ignored or discarded objects." - George McLeod...