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Alys Tomlinson: Lost Summer

HackelBury Fine Art, London is pleased to present ‘Lost Summer’ a solo exhibition of new work by Alys Tomlinson. The Lost Summer series consists of Tomlinson’s recent prom portraits photographed in June 2020 as lockdown eased and is accompanied by ‘Night Wanderings’, taken during lockdown as part of the artist’s daily exercise. The prom portraits capture the poignancy of a lost summer for teenagers who were unable to sit their school exams or mark this significant step in growing up and leaving school.

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Art Miami
2 – 20 December 2020

William klein Club Allegro Fortissimo, Paris 1990-2001-William Klein-HackelBury Fine Art London

This December we were taking part in the online edition of Art Miami with artworks by⁠ Oli Kellett, William Klein, Nadezda Nikolova Kratzer, Katja Liebmann, Ian McKeever, Garry Fabian Miller, Doug and Mike Starn, and Alys Tomlinson.

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View HackelBury Booth on Artsy

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Photo London Digital
7-18 October 2020The atmosphere absorbs its own light Garry Fabian Miller

We were thrilled to be taking part in the first edition of Photo London Digital with artworks by⁠ Bill Armstrong, Stephen Inggs, Oli Kellett, William Klein, Nadezda Nikolova-Kratzer, Katja Liebmann, Ian McKeever, Garry Fabian Miller, Doug & Mike Starn, and Alys Tomlinson.⁠ The artworks exhibited can still be viewed in our booth on Artsy.

View HackelBury Booth on Artsy

Go to Photo London Digital page

Alys Tomlinson: In Focus

We are pleased to announce ‘In Focus’, our new online feature. ‘In Focus’ will provide an in-depth look at the work, inspiration and future projects of HackelBury artists

Our inaugural ‘In Focus’ shines a spotlight on the life and work of Alys Tomlinson giving an enhanced overview of the artist, her general working practice, and an interview with Alys with links to recent videos and podcasts.

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Oli Kellett: Fellow Humans

10th September – 31st October 2020

PeachTree St Atlanta - HackelBury Fine Art

HackelBury Fine Art is pleased to present Oli Kellett’s second solo exhibition with the gallery ‘Fellow Humans’, 10th September – 31st October 2020. Fellow Humans focuses on Kellett’s ongoing and evolving Cross Road Blues series made up of large scale photographs taken at crossroads in cities across North and South America.

Kellett’s largescale photographs contrast the anonymity of urban space with the individuality of human experience. The scale of these photographs captures tangible human expression and allows the viewer to recognise a moment of conscious contemplation in their lives. Kellett´s journey to find the perfect light sees him walking the streets for days before setting up his large format architectural camera and waiting to capture these intensely private moments. The way the buildings frame his photographs and his focus on the light creates a cinematic quality, providing a dramatic architectural backdrop to these unstaged scenes. An admirer of the great American painter Edward Hopper, who famously reflected American life in silent spaces and melancholic moments, Kellett´s mesmerizing photographs of everyday people waiting at crossroads provide us with a powerful contemporary metaphor.

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Paris Photo New York: Online Catalogue

Due to the Paris Photo New York being postponed, the fair launched the Online Catalogue featuring over 170 galleries and publishers.

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Garry Fabian Miller

Online Viewing Rooms

Our Online Viewing Rooms offer a more in depth focus on an artist or particular series. Featuring works by Garry Fabian Miller, Doug & Mike Starn, Malick Sidibé, Nadezda Nikolova-Kratzer, and Oli Kellett, our online platform contextualises the works and provides the opportunity for our audience to engage with them on a deeper level.

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Garry Fabian Miller - In Blake’s Room, 1999-2015

Bill Armstrong: Chroma
Current Online Exhibition

Bill Armstrong artwork-blurry figure in yellow dress on blue red pink backdrop

HackelBury Fine Art is pleased to present Bill Armstrong: Chroma, 28 February – 9 April 2020. Chroma is a celebration of colour: vibrant red silhouettes are contrasted against a soft blue background, a bold yellow figure stretches across a swathe of rich cerulean, another figure, rendered in deep violet, appears against a green backdrop.

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Through abstract colour fields Bill Armstrong creates an otherworldly realm. He layers and manipulates collages of found materials, building an imagined scene which he then photographs with the camera’s focusing ring set to infinity. The resulting softened images erase the figures’ features and any identity associated with them to “make it possible for viewers to put themselves into the pictures—so that the portraits can become mirrors.”

Chroma concentrates on two bodies of work within Armstrong’s Infinity series: Renaissance and Film Noir. In Renaissance, Armstrong re-works old master drawings in Renaissance. The de-materialised lone figures are set against a single intense colour, chosen to elicit specific emotions in accordance with or in contrast to the figure’s pose. In Film Noir, the mysterious solitary figures placed against a layered backdrop of colour hint at the film noir themes of existentialist dilemma, yet remain haunting and unresolved.

Emphasising the unseen by concealing details is the foundation of Armstrong’s Infinity series. Compositions and forms take shape only through blurring dynamic colours together and merging the edges of the background and the foreground. The eye strives to resolve the areas which are left obscured, drawing the viewer deeper into Bill Armstrong’s meditative, parallel world of pure colour.

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Stephen Inggs
22nd November 2019 – 8th February 2020

This exhibition brings together works spanning fifteen years of Inggs’ career, including important black and white photographs and new colour photographs on view in London for the first time.

The new colour photographs focus on the sea surrounding Cape Town, where Inggs has been an avid surfer for fifty years. His work examines his love for the sea but also a fear of the environmental impact humans are having on the oceans. Inggs says: “In its myriad states of movement and stillness, the sea is a timeless metaphor for human emotions and psychological states… But, for how long will this metaphor last? Not because we are changing, but because we are changing the sea.” This uneasiness can be felt in Saltwater I, II, and III where Inggs places himself—and therefore the viewer—in among the waves, creating the impression of being engulfed by water. The soft focus of the camera plays against the violence of the tumultuous seas.

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Inggs’ largescale black and white photographs, for which he is best known, also confront the divide between delicacy and power. These works are hand-coated with silver gelatin emulsion onto cotton rag paper. The soft tactile nature of the water colour paper acts as a trompe l’oeil, blurring the boundaries between photography, drawing, and printmaking. Works such as Leaf and Shears feature isolated objects against a flattened background. By eliminating three-dimensional space behind the subject matter, the seemingly quotidian objects are intensified.

Stephen Inggs speaks of his still life works as a way of exploring the history of objects, their “cultural residue and meaning.” His new photographs can be understood in the same way, where the sea in Cape Town is a regular part of daily life, steeped in a profound cultural history and, at the same time, part of an unknown global future impacted by climate change.


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View works by Stephen Inggs

Art Miami - Save the dates - December 3-8 2019

Art Miami | One Herald Plaza, Miami |  3rd – 8th December 2019

We were delighted to return to Art Miami in December with artworks by Garry Fabian Miller, Doug & Mike Starn, William Klein, Nadezda Nikolova-Kratzer, Oli Kellett, Bill Armstrong, and Stephen Inggs.

Go to Art Miami 2019 page

View HackelBury Booth AM 214 on Artsy

As colors steal | Keble College, Oxford |  20th November 2019

A film by Garry Fabian Miller with poetry contributions by Alice Oswald and live music accompaniment by Stevie Wishart.

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William Klein: Painted Contacts + Photographs
13th September – 2nd November 2019

Smoke + Veil (x3) (Vogue), Paris 1958-2010-William Klein-HackelBury Fine Art London-black and white photographs of woman smoking with red blue green paint around

At the centre of this exhibition are William’s super-sized painted contacts, which have been an enduring feature in museum exhibitions throughout William’s career, including shows at the Tate Modern (2012-2013), the Centre Pompidou (2005), and the Espacio Fundación Telefónica, Madrid (until September 2019). Painted Contacts + Photographs marks the first time that these large-scale Lightjet c-prints are available to the public. This exhibition includes previously unreleased works from the series.

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The works in Painted Contacts + Photographs represent the totality of William Klein’s artistic practice by combining iconic aspects of his photographic, cinematographic, and painting career. The pieces on view span iconic moments in fashion and street photography including Smoke + Veil; Muhammad Ali, Miami; and Gun 1. They reference William Klein’s key films such as Muhammed Ali, The Greatest (1969) and In and out of fashion (1994). The scale of these works and their graphic paint strokes reference Klein’s earliest painted panel works, for which he first gained international attention.

At over two metres long, the super-sized painted contacts render Klein’s brush strokes larger-than-life and create a feeling of walking into William Klein’s world. Kinetic lines, circles, and crosses and bold patches of colour cut across the black and white photographs. The action captured in the photographs—which is already highlighted by the multi-frame contacts—is therefore further accentuated. There is no standing still in the realm of William Klein.


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Paris Photo | Grand Palais, Paris |  7th – 10th November 2019 | Booth C42

We were delighted to return to Paris Photo with artworks by Garry Fabian Miller, Ian McKeever, Nadezda Nikolova-Kratzer, Doug & Mike Starn, Oli Kellett, William Klein, Katja Liebmann, and Alys Tomlinson.

Go to Paris Photo 2019 page

View HackelBury Booth C42 on Artsy

Twenty-one | 14th June – 10th August 2019

Doug & Mike Starn - The no mind not thinks no things thing - #6, 2013

In celebration of the gallery’s twenty-first anniversary, HackelBury Fine Art is pleased to present Twenty-one. This exhibition looks to the future of the Gallery by highlighting new and key works from our artists. 

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Katja Liebmann: Early Work
2 May – 8 June 2019

Katja Liebmann-Journey 11-2008-toned cyanotype-Courtesy HackelBury Fine Art, London-©Kajta Liebmann

Katja Liebmann: Early Work, the artist’s first solo London exhibition since 2010, brings together five bodies of work from the artist’s early career which illustrate her on-going examination of the confluence of time, movement, and environment. Katja’s use of early photographic techniques—the pinhole, kallitype, and cyanotype—further reinforces the theme of time, reflecting on tools of the past to emphasise the fleeting nature of the present. Katja’s process, she stresses, is not nostalgic. Instead, it is a study into our continual progression over time.

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Pinhole photographs of Brussels and London are the earliest works on view. Although a steady flow of people passes by the homemade camera, exposure times of between 5 and 20 minutes render the bustling European streets empty and ghostly. An atmospheric, introspective feeling pervades and is carried through to the Gotham City series. In the Gotham City self-portraits, Katja navigates the streets of New York City wearing a Batman mask. The multiple-exposure kallitypes call to mind questions of multiple self-hood while the mask references the anonymity that is granted by an urban environment.

Similar to the multi-exposure Gotham City pieces, works in Berlin 328 and Berlin 200 combine multiple negatives in each piece. This series features blurred imagery of bridges and intersections taken from a seat in the number 328 and number 200 buses. Katja is a passenger on the bus and allows the bumps on the road to dictate when she presses the camera’s shutter button. The overlay of images mirrors the constant movement of the city and marks the passage of time.

Journeys and Dwellings are both cyanotype series, created one year apart. The Journeys photographs, taken through a moving train window, serve as a landscape of time. The process is reminiscent with that of Berlin 328. The goal is to capture speed and surroundings. The landscapes, void of human figures, hark back to her early pinhole photographs. Now an outsider only visiting the city she once called home, Katja returned to her old neighbourhood to create Dwellings. Memories of past places can be foggy and dream-like, a feeling that resonates with the softness of the images printed on handmade etching paper in Dwellings. This series brings the first chapter of Katja Liebmann’s early career full circle as her working environment moved away from Berlin. Only by looking back are we able to know where we now stand.

In Early Work the viewer is invited to consider how the past informs the present. The review of these five bodies of work references Katja Liebmann’s process of considering the past in order to take her forthcoming work in new directions.   

Katja Liebmann was nominated for the 1998 Citibank Photography Prize (now the Deutsche Börse Photography Prize) for these works from her early career and was awarded the prestigious DAAD scholarship in 1995. Much of her work is printed with ‘low-tech’ nineteenth century processes such as the Van Dyke process and other contact-print processes. Her work is in the permanent collections of the Royal College of Art, London; the Victoria and Albert Museum, London; the Charles Saatchi Collection, London; the LzO Art Collection, (Landessparkasse zu Oldenburg), Oldenburg; the Bishkek Art Centre, Kirgisien; and the Omsk Museum of Visual Arts, among others.

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Photo London | 16 - 19 May 2019
Somerset House | Courtyard Pavilion Booth G25

We were pleased to return to Photo London this year with artworks by Garry Fabian Miller, Oli Kellett, Pascal Kern, William Klein, Katja Liebmann, Ian McKeever, Nadezda Nikolova-Kratzer, Doug & Mike Starn, and Alys Tomlinson.

Go to Photo London 2019 page


Alys Tomlinson: Ex-Voto | 7th March – 18th April 2019

Untitled 06-Ex Voto-Alys Tomlinson

In Ex-Voto Alys Tomlinson explores Christian pilgrimage sites in Lourdes in France, Ballyvourney in Ireland and Grabarka in Poland. Shot on a large format 5×4 film camera, the works evoke a stillness and reflect the mysterious, timeless quality present at these sites of great contemplation.

This exhibition coincides with the release of “Ex-Voto”, published by GOST Books with essays by Guardian writer Sean O’Hagan, Professor John Eade, University of Roehampton and Dr Rowan Cerys Tomlinson. Works from Ex-Voto will be on view at Side Gallery, Newcastle and with the Royal Photographic Society touring exhibition which opens first in Bristol.

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PhotographyShow-Logo 2019-Black Green

The Photography Show Presented by AIPAD
3-7 April 2019
Pier 94 | New York City
Booth 214


View HackelBury Booth 214 on Artsy

Go to AIPAD 2019 page

Oli Kellett: Cross Road Blues
16th November 2018 – 23rd February 2019

PeachTree St Atlanta - HackelBury Fine Art

HackelBury Fine Art is pleased to announce British artist Oli Kellett’s first solo exhibition, Cross Road Blues, 16 November 2018 – 23 February 2019. This exhibition presents large-scale photographs from Kellett’s on-going Cross Road Blues series taken at urban intersections across America.

The series borrows its title from the legendary blues song by Robert Johnson which some claim is a reference to the singer selling his soul to the devil at a Mississippi Delta crossroads. The mythology surrounding Johnson’s song can be interpreted as a cautionary tale of the price paid for the American Dream, and Kellett’s allusion to it leaves the viewer wondering if the figures in his photographs chose their souls or their dreams at their crossroads.

The individuals and small clusters of people waiting in Kellett’s photographs seem to be part of a film set, strangely isolated in typically bustling urban centres and surrounded with cinematographic lighting. Like a film, each person tells a unique story about their American experience. One man waits for a passing school bus before crossing the street with a cast on his right foot (PeachTree St, Atlanta). A family stands together near the corner of the street (Hubbard St, Chicago), possibly deciding whether to walk or take the nearby stairs up to the train. Taken as a whole, the series shows commonalities that all humans share: waiting, thinking, deciding which way to go.

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