Klein started making abstract light images from 1952. On the strength of this work, Alexander Liberman invited him to join Condé Nast in 1954. With an assured income from Condé Nast, Klein was able to embark on a personal project of street photography which he published in 1956 as Life is Good and Good for You in New York. That same year, Vogue Magazine printed several of his most iconic fashion images. In 1962 Klein combined his fashion photography with the light abstraction techniques he had pioneered a decade earlier. In 2015 HackelBury worked with Klein to revisit this body of work, releasing it for the first time.

...First, I would shoot the model. She then held the pose and we turned off all the lights in the studio. In a second exposure, lasting a few seconds, an assistant would use a flashlight to draw shapes in the air around the model’s body. The result was terrific, I thought. It brought those early abstract experiments into my fashion work.

William Klein, 2017

The Waterfalls are considered key works in McKeever’s early photo/ drawing based works. They were made following a winter trip by the artist to the outer Islands of Scotland (Hebrides). Each work consists of a photograph of a frozen waterfall paired with a more gestural drawing. They are held in private and public collections such as the Contemporary Art Society, London and the Sainsbury Collection.

The pandemic allowed Fabian Miller clarity of focus and purpose, but it also accentuated the uncertainties he already knew he was facing because of the demise of the Cibachrome chemistry that sustained his interest in pure colour for nearly 50 years. Crucially, it has resulted in the loss of his darkroom as the fulcrum of his universe.

In these latest compositions he uses the last of his materials to explore the anxious liminal space where colours mix and merge and resonate like diminishing and reshaping musical chords.

They re-affirm his belief in extracting the glorious core elements from nature into his work ‘to make visible things that are invisible’ and to interrogate harmony and balance. They are the richer for acknowledging in their unresolved in-between spaces that he must adapt.

Here, talking about the struggle with deteriorating materials, he catches the moment: ‘Where once there was control – measurement, timing, careful repetition – now there is often blind chance… chaos… meltdown.’ Yet within this chaos there is calm; each piece mirroring the meditative landscape that he calls home, they ask the viewer to take a moment of reflection in colour.

Doug and Mike Starn, American artists, identical twins, were born in 1961. They first received international attention at the 1987 Whitney Biennial, and for more than twenty years they were primarily known for working conceptually with photography. Their work has evolved through combining traditionally separate disciplines such as photography, sculpture, architecture–most notably their series Big Bambú. Major themes of their work include chaos, interconnection and interdependence.

At their mammoth laboratory studio in Beacon, New York, the former Tallix foundry, the Starns work in dialogue between their many concurrent series: most recently The No Mind Not Thinks No Things and other Buddhist explorations – the Absorption of Lightconcept, alleverythingthatisyou – their photomicrographs of snow crystals, and their re-exploration of the late 19th century colour carbon printing process. Through their carbon-prints, the Starns mingle gilding techniques to the painterly photo-process, and further advance their metaphorical lexicon on light with photographs of Buddhist statuary.

Coral’s most recent project 'Revised Edition' focuses on Janson‘s History of Art. First published in 1962, the book quickly became a referential text on art history, for generations shaping the Western canon and understanding of art. Its influence as a survey textbook should however have been called into question as the text did not mention any female artists until 1986. The more recent editions of the book are still heavily male-dominated, failing to recognise the legacy and importance of women artists. With 'Revised Edition', Coral inks portraits of women artists over images from the well-known canon. Using material culture which is available to her – either photographs or self-portraits of the women – Coral makes visible those who are obscured from history.

The abstract landscape series, Elemental Forms, Landscape Rearticulated, emerged as the artist’s direct response to her surroundings and to feeling a sense of well-being and security within the landscape. She believes that each locale has its specific identity, history, and emotional imprint. Her aim with this series is to record intangible aspects of the landscape, as she experiences them through immersion and observation, without the camera’s capacity for transcription. The photogram as a medium allows the artist to search for the essence of the place by using simplicity and abstraction.

The Lost Summer series consists of Tomlinson's recent prom portraits photographed in June 2020 as lockdown eased. 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. With school proms cancelled due to the Covid-19 pandemic and the easing of lockdown, Tomlinson photographed 44 teenagers near her home in North London, all dressed up in their prom outfits. Instead of the usual settings of school halls or hotel function rooms, she captured them in their domestic outdoor spaces, of the gardens and streets where they live. They represent a loss and longing, but also celebrate each teenager as an individual, navigating this extraordinary time.