I was fortunate to take part in Beyond the Camera, at the Pingyao Photography Festival 2016, in Shanxi Province, China, September 19th-25th. I had four photographs in the show - they are the four grouped together on the left, to the right of the two images on the far left.
The above shows my photographs on display at the CraneKalman exhibition, Cream 2016, in Brighton in November.
I am taking part in the above group exhibition, Cream 2016, organised by CraneKalman, Brighton.
The second one in from the left, top row is mine, one of five that I am exhibiting.
The photographic journal Source hosts a webpage titled Source BA Graduate Photography Online. It has been doing this for a few years now and I submitted some of my work for this year's graduate pages, 2016. Each year the journal - which subtitles itself The Photographic Review - commissions "three respected figures from the world of photography to choose their favourite sets of images from all the work submitted." This year there were three: Mike Trow, Anne Lyden and Angela Glienicke. The latter is the picture editor for Greenpeace UK and she included the above image in her selection. The chosen images were included in a supplement to the Summer 2016 issue of the journal, with a small write up from Angela Glienicke:
"Nigel Maynard's beautiful compositions of light and colour incorporate other visual art forms like painting, expanding the boundaries between the fine art genres. He transports the viewer into an airy space away from reality by arranging his materials in a fresh new way, leaving it to the viewer to interpret his abstract creations."
One of my images has been selected by Creative Review magazine to appear on over a 1,000 JCDecaux digital screens across the country, during the last three weeks of July.
"As well as sitting alongside some of our busiest roads, the screens can also be found at the biggest stations in the country including London’s Euston, King’s Cross, Liverpool Street, London Bridge, St. Pancras, Victoria and Waterloo as well as at Brighton, Birmingham, Edinburgh, Glasgow, Leeds, Liverpool Lime Street, Manchester Piccadilly, Newcastle, Nottingham, Sheffield and York."
"They are also placed at major shopping destinations like Bluewater, intu Lakeside, Bullring (Birmingham), St David’s (Cardiff), Liverpool One, Trinity Leeds, and Eldon Square (Newcastle) and intu Metrocentre (Newcastle), West Quay (Southampton) and Brent Cross (London) and many more."
Quotation from: the Creative Review website article, CR and JCDecaux bring graduate work to screens across the country at https://www.creativereview.co.uk/cr-blog/2016/july/cr-and-jcdecaux-bring-graduate-artwork-to-screens-across-the-country/.
One of my images was selected by Free Range to be displayed with seven others on the glass frontage at 91, Brick Lane, London, for the five-week season of the Free Range Shows (June to mid-July 2016). Mine is the image, bottom right. The Free Range website: www.free-range.org.uk.
Exordium is an exhibition of our 3rd year undergraduate work. It will take place at the following two venues and times:
The first venue is Falmouth University, to be held in the Institute of Photography, Tremough Campus, Penryn, TR10 9FE.
Saturday 4th June - Friday 10th June.
Open: Monday - Friday, 10am - 9pm, Saturday and Sunday, 9am - 5pm.
The second show will take place shortly afterwards in London at Free Range, The Old Truman Brewery, F Block G5, 81, Brick Lane, E1 6QL. Free Range is a 10 minute north-easterly walk from Liverpool Street Station.
This show will run from Friday 24th June - Monday 27th June. Opening times: Friday, Saturday and Sunday, 10 am - 7pm and Monday 10 am - 4pm. The Private View is on Thursday 23rd June, 6 - 10pm.
Is it possible that art, as critics like Arthur Danto* and others have written, is now post-everything? That photographers and artists of all types are now just reframing and rehashing? If this is true, perhaps one photographic approach is to work with new technology and find ways to use materials to present forms and colour afresh.
*Refer to Julie Farstad's interview with Laura Letinsky at http://www.mouthtomouthmag.com/letinsky.html.
Can photographers be roughly placed into two camps – the traditional photographers who use vernacular language and the more conceptual photographer, who may talk about ideas, context and subject matter? The former have a liking for the vocabulary of the camera – shutter speed, f numbers, camera shake, spot metering etc. Maybe, this shackles these photographers to the camera, a mechanical device. Is this why the traditional photographer is very interested in cameras and intrigued to know what equipment others use? For, feeling shackled to the camera, it may feel that the camera controls their creative potential.
The more academic, conceptually-inclined photographer, seeks to break free of technical boundaries, escaping into a vast, hedge-less field of ideas, where creative potential has no limitations. Though, they may not speak about it, of course they need a suitable camera to help achieve their aims. However, they seem to require a new photographic lexicon, in which the old vernacular terms are labelled archaic in origin and fall out of use, replaced by a non-camera related vocabulary.
What is the impulse that causes me (and others) to pull out a camera and capture a moment, as opposed to soaking it in, naked? (Naked of a camera, I mean.) Perhaps, I have become artificial, unable to experience life in a primordial state. No longer able to be in a moment without interrupting it to take a picture of it. The above image was taken one morning and afterwards I wondered if I could imagine stopping myself from taking a photo of that sunrise and thus, experiencing it as it was, and how I can be – uncameraed; just a person standing before it. It and me. Two parts of nature. The title of the post "Making an Equivalent" is a reference to Alfred Stieglitz's idea of a photograph as an "Equivalent"; by which I think is meant, in the instance of the above image, a pictorial trace of my feeling about that sunrise.