Tag Archives: photography

danish paper.


Subtle, geometric, beautiful. These still-life vignettes by Jan Hardisty are a new series of limited edition, digital inkjet prints with the same modernist, unmistakably Danish touch by the artist (more of his works, here). Happy weekend.

Jan Hardisty, Goldmark Art.


I love these images taken by Paul Raeside, capturing glimpses of beautifully styled corners in this pared-back Parisian interior. Off-white and shades of grey provide the back-drop to the wonderfully light interior; window treatments are simple lengths of sheer (very on-trend for 2014, says the Wall Street Journal). It is the objects and their placement that provide the detail and texture.

paul raeside - atypyk - 5380paul raeside - atypyk - 5552paul raeside - atypyk - 5524paris apartment_paulraeside copyMore of this pared-back Parisian interior, here

happy weekend.


Allusion and ambiguity beguile in these fantastical portrayals of modernity by the impressively monikered Geebird and Bamby. With echoes of  Julius Shulman, Alfred Hitchcock, Ed Ruscha and others they appear familiar and yet surreal at the same time.

The Modern Gentleman by Geebird and Bamby, here

happy weekend.

85527. Snow 1960 � Saul Leiter, courtesy of HackelBury Fine Art Howard Greenberg Gallery

‘A window covered with raindrops interests me more than a photograph of a famous person’ Saul Leiter (1923-2013)

More Saul Leiter, here

Image courtesy HackelBury Fine Art Howard Greenberg Gallery

happy weekend.

Just back from a few days final foray to south wales before the leaves turn for another year…

Playing with dimension and scale, these staged still lifes are decidedly modernist, referencing the works of Miro and Picasso, for example. Composition, form and lighting all come into play and everyday, recognisable objects become players within a stage set.


Danish artist Jan Hardisty has created abstract artworks that resemble paintings but are actually photographs. More, here

Jan Hardisty Abstract Art Photographs first seen here:

saul leiter – paintings.

Saul Leiter has documented the world around him, capturing New York mid-century, with his beautiful colour and black-and-white photographs (see my previous post, here). But throughout his life he painted, too, and both media are on show at Hackelbury Fine Art in London (now until 27 July 2013).

His paintings are vibrant and full of life, with vivacious, playful brush strokes and pools of  intense colour. As with his photographs, the asymmetrical composition is exquisite. In both media, his influences are evident: the paintings of Renoir, Matisse and Bonnard. There is a lovely quotation in Nigel Warburton’s interview (more, here), which gives a clear indication of his regard for Bonnard:

‘Sometimes I wake up in the middle of the night and I reach over to one of my 30 books on Bonnard… if I can’t find the one I want, I go out and buy another copy’.

SL 12310 © Saul Leiter HackelBury Fine Art courtesy Howard Greenberg Gallery

© Saul Leiter HackelBury Fine Art courtesy Howard Greenberg Gallery

SL 12298 © Saul Leiter HackelBury Fine Art courtesy Howard Greenberg Gallery

© Saul Leiter HackelBury Fine Art courtesy Howard Greenberg Gallery

SL 12306 © Saul Leiter HackelBury Fine Art courtesy Howard Greenberg Gallery

© Saul Leiter HackelBury Fine Art courtesy Howard Greenberg Gallery

The documentary ‘In No Great Hurry: 13 Lessons in Life with Saul Leiter’ is being shown at Open City Docs Fest in London on 21st June, and at the ICA on the 27th June. The film is an absolute delight, with Saul Leiter as the reluctant, but utterly beguiling, protagonist.

More in the gallery, here.

All images © Saul Leiter HackelBury Fine Art courtesy Howard Greenberg Gallery

saul leiter – photographs.

‘I believe there is such a thing as a search for beauty’

You might not have heard of Saul Leiter. His photographs are amongst the most striking I have seen – abstracted imagery and exquisite composition. They capture and document urban life in mid-century New York. His photographs and paintings are the subject of a new exhibition at Hackelbury Fine Art in London and I attended the opening last night.

Leiter was an early pioneer of colour photography, yet he was never driven by the lure of success. His intention was always to be a painter. He started shooting colour and black-and-white street photography in New York in the 1940s. He had no formal training in photography, but his early work was included in two important shows at MoMA in the 1950s, and he became a successful fashion photographer in the 1950s and 60s.

Leiter’s personal colour photography remained, however, out of public view. He printed some of his black-and-white street photos, but kept most of his colour slides hidden away in boxes. It was only in the 1990s that he began to look back at his colour work and start to make prints. I saw an utterly captivating film about him recently on BBC4 –  In No Great Hurry, 13 Lessons in Life with Saul Leiter (also being shown at the ICA on the 27th June; details, here). It shows Leiter, who will turn 90 this year, in his studio, existing ‘on the periphery of the art world’, while simultaneously being widely regarded as one of the pioneering visions of colour photography. In No Great Hurry explores this contradiction of fame versus impact, with Leiter as the unwilling subject.

4. Red Umbrella c 1955 � Saul Leiter, courtesy of HackelBury Fine Art Howard Greenberg Gallery81671.Taxi 1957 � Saul Leiter, courtesy of HackelBury Fine Art  Howard Greenberg GalleryCanopy, 1958 © Saul Leiter courtesy of HackelBury Fine Art: Howard Greenberg Gallery

Snow 1960 / Red Umbrella c 1955 / Taxi 1957 / Canopy 1958 © Saul Leiter courtesy of HackelBury Fine Art/ Howard Greenberg Gallery

Throughout his life he continued to paint. The parallels between his photography and his painting are immediately evident. The exhibition at Hackelbury shows both media, and it is wonderful to see the paintings and photographs side-by-side. It is also exciting to see the photographs I know so well in the flesh. Smaller than I imagined, but intentionally so; one peers in, then becomes instantly drawn in to his world.

‘The ochres and reds of a passing taxi, the patterns of out of focus lights in Times Square, such details often find their equivalents in both the colour and form of particular paintings. Equally the delight in multiple layers of paint and texture can be seen in many of his exquisite street shots, which frequently use windows and mirrors to frame, veil, and abstract’. Philosopher and art historian Nigel Warburton interviewed Leiter, and has written this on the exhibition (and quoted, above).

What do you think of Saul’s photographs? Next week – his paintings and more on the current exhibition.

Images courtesy of Hackelbury Fine Art.

More in the gallery, here.

a pared back parisian.

Beautiful photographs, a beautiful home. Housed in an 1860s Haussmann building, the original shell has been retained – parquet floor, period mouldings – and given a wash of warm white. With high ceilings and a wealth of natural light, steel grey creates atmosphere and compliments the wood and white. Fabulous furniture pieces are placed rather than hung, against a wall here, or hanging from a door knob there. A blackboard-painted curved wall in the hallway invites guests to write and draw. Artwork in the children’s bedroom is in the form of a montage of photographs.

Beautifully shot by NY-dwelling Englishman, Paul Raeside, the photographs capture the spirit of the space and the family who live there.

paul raeside - atypyk - 5395paris apartment_paulraeside1paris apartment_paulraeside2paul raeside - atypyk - 5414paul raeside - atypyk - 5601parisapartment_paulraeside3

More Paul Raeside, here

More wonderful spaces, here

happy weekend.


Candida Höfer Galleria degli Antichi Sabbioneta I 2010, Light Jet print, 180 x 221 cm


Candida Höfer Teatro Scientifico Bibiena Mantova I 2010, Light Jet print, 180 x 225 cm


Candida Höfer Teatro Olimpico Vicenza II 2010, Light Jet print, 180 x 235 cm

Höfer produces large-format photographs of interiors of palaces, opera houses and theatres, without digital enhancement or alteration, working only with the existing light source. The result is a ‘rare combination of intimacy and scale, in which intricate architectural detail is captured without sacrificing the sense of space and civilised order’. Just sublime.

A Return to Italy, Ben Brown Fine Art, London, until 12th April. More, here

More in the gallery, here


bookshop in day

I think the design of the facade of this bookshop in Sao Paolo is almost perfect. Here’s why:

  1. The entrance is clearly defined and inviting; comprising pivoting, double-sided bookcases, the scale of the facade is brought down to human scale at the doorway, enticing one in.
  2. The signage is clear and dynamic.
  3. The lighting allows it to glitter at night like a jewel box.
  4. The facade is simple and without unnecessary embellishment; it’s all about what’s going on inside – the books.
  5. It is made of concrete; to my mind, a wonderful, expressive material with integrity and strength, the most interesting of materials (evidenced by my most-pinned Pinterest board, ‘I love concrete’)
  6. Composition – it is asymmetrical and follows the ‘one third, two thirds’ rule. The rule of thirds divides a line into roughly 2/3 and 1/3. It is a simplified version of the golden ratio, used in art and architecture to proportion work – especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio – in the belief that this proportion is aesthetically pleasing. It is also used extensively in photography. I recently attended a photography workshop with the fabulous Emily Quinton (details, here), and this one rule changed the way we shot our photographs. photgraphy workshop2Its use creates a more dynamic composition. Symmetry and balance can be, well, dull, whereas a composition where the elements are placed to one side, adds a tension between the elements and the empty space. It can be applied both horizontally and vertically. The lower third of the bookshop, the opening, could be considered positive, while the upper part is negative. What do you think of this building? Do you like the composition and asymmetry? bookshop at night

More about Livraria de Vila bookshop, São Paulo by Brazilian studio Isay Weinfeld Arquitecto, here

Still life images, owl’s house london.

More good design series, here.