MMX Gallery Black and White Photography

"I was intrigued to find what I supposed was the world's largest ice cream vendor in the world's smallest ice cream van, The rear suspension plays testament to this." - David George Beadnell, England, "Ice Cream Van", from the 'East of Eden' series, 2020 Photogravure; Charbonnel Ink on Archival Somerset Satin Paper Photogravure, 14.85 x 21 cm plus frame, (custom made with antireflective art glass) Edition of 2/5 + 2APs, Signed and numbered David George's interest in British landscape began under the tutelage of John Blakemore at Derby University and continues to be a major part of his practice, now mainly concerned with ideas of classical and romantic visual semantics in the contemporary British landscape. His work looks at the decline of traditional industries, incorporating his interest in 19th century European landscape painting...

"It was very strange and magical for my dogs to suddenly and instinctively to become an integral part of the landscape. I suppose that’s what hunting dogs do." - David George David George's interest in British landscape began under the tutelage of John Blakemore at Derby University and continues to be a major part of his practice, now mainly concerned with ideas of classical and romantic visual semantics in the contemporary British landscape. His work looks at the decline of traditional industries, incorporating his interest in 19th century European landscape painting...

The Pirelli Calendar, known and trade-marked as "The Cal", is an annual trade calendar which has been published by the UK subsidiary of the Italian tyre manufacturing company Pirelli...

"I went there one evening and just by chance there was a low tide. I took a batch of photos and once I developed them at home I saw a certain light and a certain type of picture that...

THE FLOW OF LIGHT UNDERWATER 2019 Being fascinated with light and water led me to explore how light travels in the sea - often caught on the backs of fish as they dart and swerve int...

It's really majestic piece. It's grand in size and its got a very beautiful and impressive contrast in shades. This piece is something very special... two Luminograms in one work of...

NEAR THE CHURCH, 2016 Unique Luminogram Silver Gelatin Print, Framed; Framing options available, also can be shipped unframed if preferable Framed; museum mount board, white metal fr...

Brian Griffin Joe Jackson - Look Sharp, 1979 Vintage Gelatin Silver Print, Framed; museum mount board, antireflective art glass, oak frame Image size; 11 4/5 × 15 7/10 in 30 × 40 cm...

“It was shot on a grey misty day on Dungeness Beach in Sussex. Charlie Wood lit the sky rocket and stood to attention, and I fired the flashgun that was stuffed into his trousers to ...

#473 FLOWERS, 2016 Luminogram, Silver Gelatin Print Print size: 30.5 x 40.6 cm Framed: 49 x 58 cm Frame with the classic museum style mount board and black frame/ Print can be shipped unframed - options available with more shipping prices available - please message us for more info/ This is a Unique piece Series: The Self Representation of Light Signed and dated in pen on verso, Certificate of Authenticity provided The Luminograms are made from the most simple of procedures - directing light onto silver gelatin photo paper. However, it is that simplicity that allows Jackson to adapt his own way of thinking into the making of the finished piece. As he says, it's as close as he can get in photography to painting. "I don't really see photography and pottery or painting or music to really be different to each other. Some are more immediate, some are more subtle. Music seems to be able to control emotions, photography seems to create a satisfying pleasure from just a tonal flat surface. Same with painting. One of the biggest mysteries for me is why all these things manage to control us in some way." - Michael G Jackson...

#396, 2016 Silver Gelatin Luminogram Print, Framed (classic museum style white book mount board and black frame) Image size: 40.6 x 30.5 cm Framed: 58 x 49 cm Unique Series: The Self Representation of Light Signed and dated in pen on verso © Michael Jackson The Luminograms are made from the most simple of procedures - directing light onto silver gelatin photo paper. However, it is that simplicity that allows Jackson to adapt his own way of thinking into the making of the finished piece. As he says, it's as close as he can get in photography to painting. After moving to Wales in 2007, Michael Jackson spent the next eight years creating an extensive study of a single local beach - Poppit Sands. After years of examining the beach, he realised that in effect he was studying himself and his reaction to the beach - rather than the physical landscape. He then started looking at the beach as simply a way of dividing up the camera frame - the lines and curves and focal points. It was during the long period of producing Poppit Sands prints in the darkroom that he discovered how to start making luminograms. "I feel strongly that the luminograms represent a form of moulded light. You use your process to direct and mould the light and the paper receives it in its own magical way and translates that into a form that seems fantastical but also it has one foot in reality. The piece itself so often seems like a photograph of a sculpture, when it fact it is neither. I imagine that I am taking something that you cannot feel and I am making it appear in a seemingly three dimensional form that is balanced and controlled. Just like sculpting clay." Michael G Jackson...

UNDER AND ABOVE, NEW YORK CITY, 2021 Unique Silver Gelatin Print, Selenium toned; This is a mixed process print using luminogram, photogram and other darkroom techniques – all cameraless, two unique prints mounted on Aluminium Dibond. Currently, this piece is mounted only but will be framed further with hardwood black frame and finish with antireflective UV protective art glass - please see further images for referrals regarding the framing. 2 x Prints as One work of Art: 80 x 50 cm Framed 82 x 52 cm approx./ 32 x 20.5 inches approx. Unique Work Series: New York City Signed by the Artist on verso and provided with signed and stamped Certificate of Authenticity © Michael G Jackson...

ATO>MIC #9, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Framed 23 x 18 cm print size 38 x 35.5 cm framed Unique Series: ATO>MIC Signed and dated in pencil on print's verso © Michael G Jackson...

ATO>MIC #10, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Framed: custom made frame with anti-reflective art glass Print size: 23 x 18 cm Framed: 38 x 35.5 cm Unique Series: ATO>MIC Signed and dated in pencil on print's verso Certificate of Authenticity provided "At first glance the viewer may only see geometric spherical shapes with added lines and rectangles on tea toned Silver Gelatin paper. "The supremacy of pure artistic feeling" rather than the visual depiction of objects assign to the art movement of Suprematism comes to one's mind. Similarly, like a giant of abstract art Kasimir Malevich, Jackson wants the viewer to look further, deeper than one might usually. The feeling of 'sensation' of the ATO>MIC prints, the sharpness of the forms, the intensity defying its size to condensed 9 x 7 inches' paper, make it all the more dramatic to look at. It takes the viewer to another level of fantastical world of creation." Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G...

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...

Kabool, 'Avenue of Trees’, 2001 by John Reardon Edition of 2/10 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piece was part of (afte...

Dubawi, 'Stripped’, 2001 by John Reardon Edition of 15 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piec...

Singspiel, Stallion Portrait 2001 by John Reardon 76 x 51 cm Edition of 5 only Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Mu...

Cape Cross, ‘Hoof’, 2001 by John Reardon Edition of 2/7 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This pie...

Xaar, ‘Tail', 2001 by John Reardon Edition of 7 (2/7) Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piece...

King's Best, ‘Neck’, 2001 by John Reardon Edition of 7 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piece is part of : (after) Whist...

Mark of Esteem, ‘Silhouette’, 2001 by John Reardon This Print is part of the Hermès Collection of Contemporary Photographs since November 2023 A few mor...

A group of moss draped fir trees dance together as if they were a coven of witches weaving incantations... "When your eyes have little information, your imagination takes over and fills in the gaps." - 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...

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...

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...

'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 ...

“I walked into a timeless place … full of supporting actors and actresses of every conceivable role,” Abramson wrote in Light: On the South Side, published by Chicago’s Numero Group in 2009. “Brassai, who photographed nocturnal Paris around 1930, had always been one of my favourite. Having seen, his pictures and, later, read about his experiences, I was fascinated by the implied romance with which he viewed his photography. (…) When I photographed on the South Side, especially in Peppers Hideout, it was very much in recognition of a Brassai–type world. Whether it be ambiance, gestures, or dress, there seemed to be a direct correlation with the Parisian bistros and dance halls that Brassai had photographed.” - Michael Abramson, “Black Night Clubs of Chicago’s South Side”, May 1977. Print details: © Michael L Abramson, Untitled #112, CA. 1974 -1977 Vintage Gelatin Silver Print, in custom made frame Image size: 20.5 x 30.5 cm, Printed on 11 x 14" paper (27.9 x 35.4 cm), white border Series: 1970s Nightclubs of Chicago South Side Stamped; "Provenance Authenticated by Michael L Abramson Estate, 2011" on verso Frame: 38 x 48 cm (Custom made classic hardwood frame, stain in black, museum mount board and antireflective UV AR protective art glass) All prints from 1970s South Side Chicago series are available for purchase as the singular works or as the group of images - please view a selection on 1stDibs and the gallery storefront. All works are Vintage Silver Gelatin prints made by the photographer at the time there were taken. All prints can be purchased in bespoke hardwood frames, museum mount board and anti-reflective UV protective Art Glass. If you wish to ship or purchase unframed prints, we are happy to arrange that for you. About the Photographer: Michael L Abramson was born in New Jersey in 1948, the late American photographer graduated with Master of Photography from Institute of Design, Illinois Institute of Technology in Chicago in 1977. His work was regularly featured in Time, New York Times, Newsweek, People, Forbes, Harpers, Wall Street Journal and other popular American and international magazines. He was a highly sought after commercial portrait photographer and photojournalist. His subjects comprised celebrities, prominent stars from sport, politics and the entertainment industry included Bill Clinton, Steve Jobs, Steven Spielberg, Michael Jordan, Oprah Winfrey and many more. Yet it was his 1970s series documenting the Chicago South side club scene that made Abramson’s name. Influenced by Brassaï’s photographs of the 1920s Paris, Abramson caught the stylish nightlife of the funk and soul era in full, alluring swing. His work was exhibited frequently since 1978, including a solo show at Museum of Contemporary Photography, Chicago, in 2014 and in the same year the group show on American Photography since 1950 at Madison Museum of Contemporary Arts (US). Following Abramson’s death in 2011 a new book entitled Gotta Go Gotta Flow: Life, Love, and Lust From Chicago’s South Side was released by Chicago-based Chicago City...

SLAGHEAPS I, CZERWIONKA, 1978 Unframed Silver Gelatin Print, framing options available 44 x 29 cm/ 17.3 x 11.5 inches approx. From an Edition of 15 + 2 APs, Printed 2005, Hand printed in the traditional darkroom by the Artist (Michał Cała). Series: Silesia Signed and dated 2005 in pencil on verso Shipping: The print would be shipped flat in the print box. ‘I've been photographing workers’ housing, mines and ironworks but the giant slagheaps and the surrounding landscape were always the most surreal subjects for me. The geometric forms of the slagheaps and the contours of the drying sediments created an amazing array of abstract forms. This particular image - Slagheaps I, Czerwionka - won the grand prix at the Polish Landscape...

THE LANDSCAPE AROUND THE MARCEL MINE, RADLIN, 1978 Vintage Gelatin Silver Print 47.5 x 32.5 cm Series: Silesia Signed, titled and dated on verso; Artist's stamp Using a basic 35mm Exa 500 camera, Cała managed to produce images of lyrical beauty, emphasised by a dark graphic printing style that gave the landscape an apocalyptic, otherworldly look. More print information: A little tape marks in the back corners of the print. Nr 61 noted in the middle on the back of the print. The front of the photograph in a very good condition. Hand printed by the photographer on gloss paper. A rare vintage gelatin silver print from the Silesia series. Michal Cala was born in Toruń, Poland in 1948 and studied aircraft construction in Warsaw at the University of Technology in the early 1970's. From 1974 to 1983 he worked as an engineer in various companies in Silesia, and began photographing in the area. In 1977, he moved to Tychy in Upper Silesia, where he co-founded the photographers' association KRON and become a member of the ZPAF - the Union of Polish Art Photographers. Publications on his work include The Anthology of Polish Photography 1839 - 1989, The Masters of Polish Landscape...

"Forest at the bottom of the Slagheaps", Walbrzych, Silesia, Poland, 1978 Silver Gelatin Print, Signed and dated in pencil on verso Printed in 2008 by the Photographer, hand printed darkroom print. 17 3/10 × 12 1/5 in 44 × 31 cm 50 x 37 cm paper size with white border , 44 x 31 cm (image size) "My fascination started when I first saw industrial centres of Upper and Lower Silesia,’ says Cała. ‘The landscape was terrifying and beautiful at the same time. It did not change for the whole period from the 19th century to the end of communism in Poland." - Michal Cala Exhibition frame as seen on additional picture available upon request - please contact gallery for further details or purchase unframed print with a free shipping worldwide. About the Artist: "Cala become relatively well known in Poland but he is still little known in the West, despite the fact that his work bears comparison with masters such as Bill Brandt and Robert Frank." - Bill Kouwenhoven, British Journal of Photography, 2007 Michal Cala was born in Toruń, Poland in 1948 and studied aircraft construction in Warsaw at the University of Technology in the early 1970's. From 1974 to 1983 he worked as an engineer in various companies in Silesia, and began photographing in the area. In 1977, he moved to Tychy in Upper Silesia, where he co-founded the photographers' association KRON and become a member of the ZPAF - the Union of Polish Art Photographers. Relatively unknown outside of his native country, his work is in several museum collections in Poland; in the Silesian Museum of Katowice, the Silesian Library in Katowice, the Upper Silesian Museum in Bytom, the Coal Mining Museum in Zabrze as well as local government building in Duisburg in the Ruhr (Germany) and MAST Foundation (Bologna) and various international private collections. His work has received much acclaim and won numerus awards; among which are the Grand Prix at the Polish Landscape...

A camera is a window through which a photographer interacts with the world, and it's up to the operator to decide whether his camera will be a barrier or a mirror between he and his subjects. In the 1970s, Michael Abramson chose the latter path when he brought his camera to Pepper's Hideout on Chicago's South Side. Following in the footsteps of his acknowledged influence Gyula Halász, a Hungarian photographer better known as Brassaï who became the pre-eminent chronicler of the Paris nightlife he loved so much, Abramson initiated himself into the nightlife of Chicago's predominantly black neighbourhoods. He was very much a part of the scene he documented on film, drinking, laughing, and dancing with his subjects into small hours and becoming as much a part of the atmosphere as the locals who frequented the same nightspots he did. - Joe Tangari (Numero Group, 2009) This series won Abramson a grant from the National Endowment for the Arts in 1978 and launched his career as a photojournalist. Eventually the project resulted in a hardbound book, Light: On the South Side, including the Grammy and Mojo nominated album, featuring Chicago blues...

"Abramson comes much closer to recording the sound of these clubs than we would have any right to expect from a photographer." - Nick Hornby (London, 2009), Light On the South Side, ...

"The play of water and light has fascinated me for years. From childhood I have found sunlight underwater mesmerising - be it a Cornish rock pool or The Red Sea, the movement and diffraction of light excites me. Add to that the thrill of schools of fish - specifically Akule, which are found in seas off Hawaii. I spent some time wanting to make a series of prints that captured the play of light on these fast moving fish - creating flowing abstract forms and textures." - Mike G Jackson The goal isn't to replicate the real world - it is to show where the real world and the process meet - sometimes pushing towards the real world, sometimes pushing towards the process - but never completely at either extreme. - Michael G Jackson Michael Jackson (b.1966) is an experimental photographer based in North Dorset, England. He studied art at West Dean College in Sussex, then apprenticed under landscape painter Christopher W Baker and later discovered his passion for photography. He moved away from working with traditional camera techniques in 2015 and is currently progressing the Luminogram process into new directions in which he has become regarded as a leading practitioner. His work has been exhibited internationally and is part of various private and museum collections including The National Art Gallery in Washington, USA. Selected Press: “Mike Jackson...

"I walked into a timeless place … full of supporting actors and actresses of every conceivable role," Abramson wrote in Light: On the South Side, published by Chicago's Numero Group ...

The goal isn't to replicate the real world - it is to show where the real world and the process meet - sometimes pushing towards the real world, sometimes pushing towards the process - but never completely at either extreme. - (the Artist: Mike G Jackson) NEW YORK CITY AND THE HUDSON 2020 "After spending time in New York and producing work that showed the city from the viewpoint of being on the inside, I wanted to show the city from the outside looking in. I wanted to try and capture the city and water using bold shapes - building up the scene piece by piece. Making the sky and sea from rectangles to make them a whole with the city structures." - Mike G Jackson Unique 4 x Prints, Selenium toned Silver Gelatine Luminogram Print, Hand printed in the darkroom, Framed Dimensions: 32 x 24 inches (82 x 62 cm approx including frame); can be framed separately or in one frame upon request Frame: Mounted on aluminium Dibond, custom made hardwood frame (framing options available upon request; colour and various material options) finish with antireflective UV protective AR Art Glass Mounting and framing of this work will be done after the purchase so the framing options like framing colour for example can be made according to specifications of the client; matt or gloss, black, white, metallic etc OFFER! Free Shipping worldwide: the work would be crated for protection and shipped by professional art shipping company; front door delivery; complementary delivery and install available in London area About the Artist: Michael Jackson (b.1966) is an experimental photographer based in North Dorset, England. He studied art at West Dean College in Sussex, then apprenticed under landscape painter Christopher W Baker and later discovered his passion for photography. He moved away from working with traditional camera techniques in 2015 and is currently progressing the Luminogram process into new directions in which he has become regarded as a leading practitioner. Past awards and accolades include being named a Finalist for the Hasselblad Masters Award (2008, 2009, 2010) and winner of the 2013 Chris Beetles Award. His work has been exhibited internationally and is part of various private and public art and photography collections including The National Art Gallery in Washington, USA. Michael Jackson’s Luminograms are a very special piece of photographic art. Not a photograph in itself but a creative medium of its own. Each one is meticulously crafted by Michael in his darkroom. There are many structured stages to go through before the photographic paper can be hand developed and permanently fixed. Once Michael is happy with a finished Luminogram print it’s then toned in Selenium, which not only intensifies the prints tonality, but also increases the prints archival quality. Traditional photographic darkroom printing techniques have an unquestionable pedigree when it comes to the life expectancy of a photograph. Each Luminogram is unique and only one Silver Gelatin Print is produced of each image. The images reveal themselves with a 3D quality; viewed in the flesh the abstracted surreal forms within the paper come alive to the viewer. Michael Jackson’s Luminograms were exhibited for the first time at MMX Gallery in 2016; The Self Representation of Light exhibition and the following year at Photo London 2017 as well as next Photo London editions. The Luminogram work was also paired with theologian Edwin A. Abbott in a book published by 21st Editions, titled after the author’s famous work ‘FLATLAND’ and premiered in November at the Grand Palais in Paris, for Paris Photo 2017. Other recent group exhibitions include Light + Metal, PhotoEye Gallery, (USA) and Unbound 7, Candela Gallery, (USA), ATO>MIC, MMX Gallery, London 2022. “Mike Jackson...

“Far from being an exercise in nostalgia, this analogue technique offers Jackson, as it does other artists at the cutting edge of this art movement, a path to the future.” – The Financial Times “Mike...

Central Park is part of a group of prints based on a visit to New York City, Because I live and work in quiet isolation and often don't meet anyone apa...