MMX Gallery Figurative Photography

"Brian Griffin turned the tables on commercial assignment portraiture with a style all his own. When Margaret Thatcher came to power in 1979, business was empowered and labor was bel...

“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 ...

Katie Eleanor, "Sweet Violet", 2019 Handcoloured portrait of blooming flower, immobilised in marble, featuring frozen eyes and the silky colours of Sprin...

UNTITLED #4, 2021 Archival Pigment Print, Framed (Unframed option is also available - please enquire for an offer) 30 x 46 cm / 12 x 18 inches approx. plus frame Edition of 10 + 2 AP Other dimensions are also available Series: Tree Huggers from the Future Signed on verso "On a recent walk in my favourite area of woodland I came across a group of time travelling eco tourists, appearing one by one from a brilliantly bright space suspended over a small pond. They had come back to our time to study trees and invited me to document their research. Apparently they knew I would say yes. Twice now our trips have coincided, almost as if they knew where and when I would be going on holiday, and I must admit, I hope our paths cross again, as I find them strangely photogenic." - George McLeod...

UNTITLED #3, 2021 Archival Pigment Print, Framed; white frame with antireflective glass; larger size - framing options available) 30 x 46 cm Edition of 10 + 2 AP Series: Tree Huggers...

"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...

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, ...

Hand-coloured portrait of a human larvae bursting out of their cocoon, immobilised in marble. Representative of a safe and isolating space, the cocoon is both a cage and a shelter. This tale is a​ study of transformation, of breaking apart and coming back together as the larvae emerges from the silken threads. 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...