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Metro has been delighted to recently have worked with leading still life and interiors photographer Simon Brown producing C Type prints for his upcoming exhibition ‘Standing in the Corner’ which opens at the Richard Young Gallery in London this week.
Brown, well known for his images published in interiors magazines across the world has brought together a stunning collection of limited edition prints for this exhibition. He combines shots taken over a five year period, of poignant interior shots from properties in England, Ireland and France with a collection of studio shot still life images, from antique kitchen spoons and cabbages to raspberries and hand whisks. The images feature colours, textures and spaces that chart architectural decay and convey a grandeur of past lives whose spirits still seem to linger in a host of beautiful rooms and passages.
Brown comments on his work, ‘What I love is the imperfection of natural light and the genial chaos you can find in houses around the world. On location I used daylight – shooting north so shadows remain constant, just as the Dutch Masters of the 17th century did with their painting – and with long exposures was able to capture what I feel was the sense of a place.’
Continuing about the still life images ‘I shot these objects in what I saw as mini theatre sets, which elevates everyday objects into something ethereal and extraordinary.’
For more information about the exhibition click here
Richard Young Gallery 4 Holland Street, London W8 4LTExhibition Dates: 2nd May – 29th June 2013
Opening Times: Monday 11:00am – 5:00pm
Tuesday – Thursday 10:00am – 6:00pm
Friday 10.00am – 5.00pm
Saturday 11:00am – 5.00pm
Admission to the exhibition is free
Images © Simon Brown
His latest exhibition, ‘Lion Hunting in Essex’, we produced four 36 x 24 inch C type matt prints, as part of his show held at Tenderpixel, London.Lion Hunting in Essex depicts the media coverage in 2012, after apparent sightings of large cats were spotted in the Home Counties. During this time, reports in national newspapers followed the stories and even helicopters with heat seeking devices were deployed in hopes of either catching a glimpse of the animals or catching them.
At the same time, Richard also set about trying to document the elusive creatures by scouting out locations close to the reported sightings. The resulting images didn’t capture the animal, but rather reflect the fears sub-consciously projected onto the green and pleasant land of the South East of England.
The exhibition ‘Portraits’ runs in conjunction with one other series ‘Untitled’ that can be seen during the same period.
