Paris Photo New York 2020
Due to concerns over public health and safety developing over the COVID-19 situation, the inaugural edition of Paris Photo New York has been postponed. We’re looking forward to exhibiting in New York with the fair soon and will keep our website and social media updated with news.
Below is our online gallery including some of the artworks intended for the fair.
Request artwork details
Garry Fabian Miller : Sea Horizons
In 1976, at the age of 19, Garry Fabian Miller began the series Sections of England: The Sea Horizon. It consists of forty photographs taken from a fixed point on the roof of his home in Clevedon, overlooking the waters of Severn Estuary. Taken over eighteen months, all the images have the same square format with a line of the horizon dividing the word into the sea and the sky. The photographic elements of film and exposure remained constant, the only change from frame to frame is the time of day and the weather, making these photographs a powerful study of time and place.
The series was first shown as part of the Midland Open Exhibition at London’s Serpentine Gallery in 1977 and in a fuller form in his first solo exhibition at the Arnolfini Gallery in Bristol two years later. It was later acquired by the Metropolitan Museum of Art in New York.
Garry Fabian Miller : Abstract
Garry Fabian Miller’s increasing interest in light and time led him to abandon the camera in 1984 and to focus exclusively on making camera-less photographs. Miller’s abstract images are created in the darkroom where he passes the light from the enlarger through translucent objects, coloured glass or liquids onto the light-sensitive paper. Fabian Miller’s dye-destruction process is characterised by long exposures that often last between one and fifteen hours, challenging the photographic norm of exposures that last for a fraction of a second. The result of this process is a controlled, colour-saturated body of work.
In Miller’s works light, time and colour become both medium and subject in his work. These themes are deeply rooted in Fabian Miller’s sense of place as a rural artist and his connection to nature. Walking the surrounding landscape of his Dartmoor studio, absorbing his surroundings before entering the darkroom to begin image-making. The artist becomes the camera, using a language of colour and form developed over 40 years.
Doug & Mike Starn
Malick Sidibé was born around 1935, in a small village in Mali. He bought his first camera in 1956, and in 1958 he opened his studio in Bagadadji, in the heart of Bamako. Starting with studio portraits, he soon after moved into street photography and focused on documenting the youth culture of Mali’s capital in the wake of its independence. The flourishing club scene of the city, river Niger on hot Sundays, football championships, boxing matches, and all sorts of events that Sidibé illustrated with moving photographs, lively snapshots, and leisure poses. Sidibé’s photography studio itself became a hip hangout for Bamako’s youth. Being a real inside-scenester, Sidibé was entrusted by his clients to photograph them at all times
Nadezda Nikolova-Kratzer is a photographic artist working with wet plate collodion photograms – a historical technique dating back to the 1850s which uses light-sensitive salts to cover a glass plate before exposing it to the light in a portable darkroom. Captivated by the fluidity of this technique, she further manipulates the medium while simultaneously courting chance intrinsic to handmade photography.
In Elemental Forms: Landscapes Rearticulated, Nadezda returns to the investigation of the connection between human and the landscape and attempts to give it a new form. Following the words by the physicist David Bohm who claims that ‘change of meaning is required to change the world’s politics, economics, and society. This change of meaning must begin with the individual.’ Nadezda perceives the landscape as an ‘idea’, an idea that can be re-comprehended. By rearticulating the forms that can be found in the landscape - the sinuous lines, recognizable also from her previous series - she arranges them into new compositions, bringing new associations
Since 2008, Oli Kellet has dedicated himself to exploring the urban setting and our relationship with the crossroad. For his series Cross Road Blues, he travelled through America to transform the everyday into spectacular beauty. 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. Taken as a whole, the series shows commonalities that all humans share: waiting, thinking, deciding which way to go.