a world of ever-increasing complexity, bombarded with information,
there are infinite possibilities when considering crafting
a picture. Contemporary photographers must dig deep to find
their images, devoting themselves to deliver the particular
vision in their mind’s eye. Pared down to essentials,
Edward Dimsdale’s photographs quietly transmit their
message, seeking out an audience receptive to such a carefully
honed and considered perspective.
Much of this work involves the making of prints from paper
negatives, which goes some way to accounting for the singular
aesthetic of each photograph. His first experiments with this
historical method, which itself harks back to the very origins
of photography, were undertaken whilst at Bristol University
studying social science. He then continued to develop and
refine Fox Talbot’s pioneering techniques whilst assisting
fashion and still life photographers in Paris and London.
The starting point though, is spiritual rather than technical;
the capture, however subtle, of some resonance in the real
world. It may be a detail, or an atmosphere. It may exist
in a landscape or figure study, a still life or a portrait.
It can be as simple as the presence of a pebble isolated on
stone steps, the sideways glance of an apprentice Geisha,
a coppice of lanky trees, or a tubby little boat crossing
a fog-bound lake. In each case, this resonance is frozen,
inert, onto the film negative. A sometimes complex procedure
then ensues, aiming to distill something of that original
resonance; offering us a heightened sense of it in fact, rendered
in the final silver gelatin print. This print is then toned
in selenium, gold or both.
The keynotes are simplicity and a stripped-down beauty. Dimsdale
believes that the original resonance is only fully achieved,
however, when it is inspired back into life by the viewer;
by contact with a receptive eye, heart and mind. Only then
is the process complete.
2004 AIPAD The Photography Show, New York. HackelBury Fine
Art London Fine Art Fair. Kunsterhaus Mousonturm, Frankfurt:
'Be Proud of Me' (with Stan's Cafe)
Hothouse Gallery, London: 'Site/Seeing'
2002 HackelBury Fine Art 100% Photography.Century, London.
AIPAD Photo Fair, New York Hilton
2001 Arnolfini, Bristol: ‘Flesh&Text’. Paris
Photo Fair Frederieke S.Taylor Gallery, New York: ‘British
Photography’. AIPAD Photo Fair, New York Hilton
2000 Timothy Everest, London. Paris Photo Fair
1999 HackelBury Fine Art: ‘Process & Print’.
Paris Photo Fair
‘Flesh & Text’ – collaboration with
Bodies In Flight, CD-ROM
The Big Issue Foundation: ‘Home 2000’ –
catalogue and exhibition
Positive View, 2000 – catalogue, exhibition and auction
French Elle Decoration, November 2000
London Lighthouse, Christie’s, London – Charity
Auction and Catalogue, 1999, 2000 and 2001.
AG Magazine, 1999
you enjoy the work of this artist, you should also look at
the work of Allan
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2003 Hackelbury Fine Art, Ltd. Copyright for all images is
held by the respective artist or estate and they may not be
reproduced in any form without express premission. All rights