At first glance photographic artists Annelie Bruijn and Barnaby Irish have little in common. They are two non-collaborating artists, creating very separate bodies of work, however look again and you will recognise that there is a definite common thread, their belief that people, nature and the universe they exist in are all infinitely connected.
In this exhibition we will be showing these two separate series:
by Barnaby Irish
by Annelie Bruijn
"I'm always looking for something to give my pictures a surrealistic emotional feeling, a combination of letting it go and making it happen, that creates a dreamy world." — Annelie Bruijn
Dutch photographer Annelie Bruijn uses layering and plays with illusions to create elements which disrupt and fracture the image, resulting in unexpected results - whilst never loosing sight of the essence of her subjects, almost like a slightly tainted or imperfect memory.
This series is an extension of this constant layering. She expertly works with her analogue 35mm camera, using the almost forgotten technique of double exposures directly onto the film.
These, what might seem ‘incidental’ combinations, are in fact highly considered by Bruijn and become combinations that reveal new forms and evoke new emotions.
By consciously combining the skin of her sitters with other organic forms, she overlaps them with light and shadows, resulting in images that feel both voyeuristic and magical.
Annelie is a successful Fashion and Portrait Photographer, who includes Vogue, Union Magazine, Vogue Man and many fashion labels as her clients. This exhibition is her personal work.
"Remember that you are a gateway between the universal and the microscopic, the inner forces that stir the depths of your innermost being, and nature, who embraces you and all there is." — David Attenborough
Using cyanotypes, one of the earliest photographic processes (discovered in 1842), Barnaby Irish attempts to give physical presence to naturally occurring forms and patterns invisible to the naked eye, an analogue permanence to images predominantly created from data.
The cyanotype process is completely camera-less and lens-less, and the sunlight which it requires constantly varies, making each piece unique. Irish extends this by occasionally screen-printing on the glass and custom-making all of his frames, giving each piece an individual identity in a bigger ecosystem.
His prints are based around found images, many created by technology: satellite and astrophotography, scans of blood vessels, neurons and cells, and by layering and manipulating these images he encourages you to look deeper beyond the constraints of the frames, to discover new inner galaxies.
"We are aware of ourselves and the space we inhabit, but only in a limited sense. Our visual reality is created by photons bouncing off of matter at different wavelengths, giving us a sense of depth and colour.
As humans our perception and knowledge have evolved at an exponential pace, but our sensory equipment is only designed to react to stimuli at our own scale. Our sense of sight is limited to narrow wavelengths and we require sophisticated technology to see anything at a microscopic or cosmic scale," says Irish.
He continues - "I find these forms both beautiful and disturbing; they resonate as something familiar, but closer inspection makes them feel false - the depth and shade created by software instead of photons."
"My work imagines realities and dimensions we can't yet sense, or only get glimpses of through meditation or psychedelics. I’m aiming for the resonance of something you recognise with the mystery of not knowing what it is."