British legendary rock photographer, Tom Sheehan has collaborated with restaurant roast in Borough Market to show a bespoke selection of his images, depicting iconic British musicians from his archive, spanning over forty years as a celebrated freelance photographer in the music business.
While continuing to photograph bands, he has recently published four deluxe editions of some of his favourite subjects: Paul Weller, The Cure, Manic Street Preachers, and REM, with further volumes to be announced.
Metro were thrilled to produce all prints and frames for the exhibition, working directly with Tom. The 20″ x 16″ photographs are printed on Harman GDS fibre-based Baryta paper, which has a gloss finish and slight texture; and the emulsion is based on a traditional Black and White silver halide technology with excellent D-Max, sharpness and surface finish. The prints have been mounted in Bespoke Classic Frames by our Finishing team.
All the prints on display are for sale and can be requested in different sizes. Contact the artist to purchase your own piece of rock history.
From 13 May 2019
roast at The Floral Hall, Borough Market
1. Photographer Tom Sheehan at the exhibition opening in roast restaurant, Borough Market
2. Tom Sheehan signing David Bowie, Press Conference, London, 1987 and Johnny Rotten Sex Pistols, John Lydon, 1979 large-scale prints at Metro Imaging Labs.
3. Tom Sheehan David Bowie and Primal Scream prints hanging on roast restaurant walls for the exhibition.
Since winning the Metro Imaging x Free Range Mentorship Award in 2017, we’ve had the pleasure of working closely with artist Alexander Mourant, who is currently studying at the Royal College of Art and represented by Seen Fifteen Gallery. As part of Photo London 2019, Alexander was chosen to produce the annual Financial Times Weekend Magazine MY LONDON commission to coincide with the event, exploring his feelings about the capital and resulting in To Feel its Touch.
‘One morning, I was making a routine journey from High Street Kensington towards Hyde Park, walking along the bustling pavement, swooping in and out of pedestrians. My mind was elsewhere but my legs knew where they wanted to take me. I came to a road crossing, which halted my momentum and ruptured my train of thought. To the right, off the main high street, was a small residential road cordoned off by the all- too-familiar orange barricades. I navigated the vibrant caution signs and gasped: the road I knew was no longer a road. Instead, I was met with a vast, deep void. I paused for thought. The road was entirely excavated, unearthed, a tomb in waiting; resonating, like Michael Heizer’s land art work “Double Negative” (1969).
This early-morning encounter led to a series of ideas, or trigger points, for creating work addressing London and my place within it. I began to realise that London is essentially an interwoven lattice of materials – combining and dividing – instigating our meeting and plotting our separation. I considered the past years, the rampant dashes and long summer strolls; would this material remember me? Does the pavement, and the earth beneath it, feel my touch?
In February, I kept an eager eye on the Transport for London website, waiting for an update on my various “hotspot” locations. I had centred my search around my uncle’s flat in Chiswick. This is my place of origin within the city: if any place was to hold echoes, a deepness of time, it would be there. In a fortuitous turn of events, there was an excavation under way in the road alongside my uncle’s flat. I approached the site, sought permission from a rather bemused construction worker, and collected some of the excavated material. I took this mixture of earth, rock and sand with me to the darkroom.
The work I present here utilises this found material, suspended in water inside a large tank, to create abstract, interconnecting photograms that fluctuate across large- format negatives. Taken during one exposure, this intensely physical process imbues itself with suggestive qualities and personal memory. I feel a containment, while simultaneously sensing fluidity and movement. I can see magma spreading under the earth’s crust, burnt clouds, or a murmuration of starlings. My art seeks to stop you, to ruminate with and engulf you. To feel its touch.’ – Alexander Mourant
Alongside this, Mourant was also selected to appear as part of Peckham 24 in the group show For Those Who Could See Beyond the Surface, curated by Emma Bowkett. For this, he created site specific work inspired by the FT Weekend commission, produced simultaneously. Having noticed a high amount of development activity within the area, Alexander took material directly from a Peckham Rye construction site (just outside the Bussey Building) and created a unique image using the aforementioned process. The subsequent grids created work both separately and together as a set; much like the city itself, ‘[it’s] the same material but the structure is continually changing’.
For the exhibition itself, Metro were pleased to work yet again with Mourant in order to produce Fine Art Giclée Prints, expressing the vivid colour of the artist’s images.
1. MY LONDON for FT Weekend Magazine Spread ⒸAlexander Mourant.
2. ‘Chiswick II’, 2019, ⒸAlexander Mourant for FT Weekend Magazine.
2. Installation Image: Alexander Mourant in For Those Who Could See Beyond the Surface, Copeland Gallery, 2019.
Do you remember the event or the photograph of it? Do our photographs reflect reality or create a new one? Do you trust your memories or do they change as you do? To what extent does photography impact who we think we are?
In Photographic memory, Baud Postma will consider these questions through an exploration of the interconnected themes of construction, authenticity and artifice as they exist within both memory and photography. Using his distinctive analogue process, the exhibition examines these ideas within the context of our image-saturated and social media obsessed world. Metro Imaging were thrilled to work with the artist in order to produce the exhibition at PECKHAM 24, from the Fine Art Giclée prints on Hahnemühle Photo Rag paper to bespoke Floating Box Frames.
Postma’s sequence of images expresses varying perspectives of the desert, exploring them as a metaphor for memory. Both desert landscapes and personal memories appear fixed and stable but are in fact subject to constant, imperceptible change. The work encompasses re-photographed imagery from his early personal archive, film stills of Lawrence of Arabia and long exposure photographs of time-lapse video footage. Alongside these photographic works, an installation made in collaboration with set designer Jabez Bartlett, spans the lower floor of the exhibition, placing the viewer in a desert-like, immersive display.
His analogue process of selecting, recapturing and reinterpreting existing imagery mirrors the idea of memories transforming over time. Displaying visually different versions of the same source image, produced using alternative darkroom processes, serves to further highlight the idea that our memories of a given event can evolve. Editing our photographic archive and even our memories are in fact the norm, guided by self-enhancing biases that lead us to rewrite our past so it resembles what we feel and believes now.
17 – 19 May 2019
Safe House 2,137 Copeland Road, SE15 3SN
IMAGES: All images by Ⓒ Baud Postma, PHOTOGRAPHIC MEMORY, 2019.
The northern Irish artist Martin Seeds grew up in Belfast at the height of the civil conflict, The Troubles, in the 1970s and 1980s. Through his practice, he engages with the conflicting experiences of Northern Irish identity, politics and culture.
The exhibition displays new works from the series Disagreements, part of a long-term project made in the grounds of the Stormont Estate, home of the Northern Ireland Assembly. The issue of dysfunction at Stormont had rarely been covered in the British media until the recent death of journalist Lyra McKee. Seeds’ Disagreements works – which fuse positive and negative images of the same subject – are an allegorical response to the fragility and vulnerability of Northern Ireland politics.
The centrepiece of the exhibition is a large scale installation of Seeds’ latest body of work, Masks – comprised of over 190 unique silver gelatin contact prints of balaclavas, which he hand-printed himself in the darkroom with the screen of an iPad. This new body of work marks a departure in the artist’s practice driven by the fact that Northern Ireland and the “Irish Question” has been thrust into the centre of the political discourse surrounding the Brexit negotiations. The Masks are an overt symbol of terrorism and an expression of the artist’s darkest fears that Brexit could lead to a return to the sectarian violence that was the backdrop to his early life.
Metro Imaging worked closely with Martin to produce all the new work from the series Disagreements on Fine Art Giclée paper, that was then mounted and framed by our experts at the Finishing department.
Open until 1st June 2019
Seen Fifteen Gallery, Unit B1:1, Bussey Building, 133 Rye Ln
Friday to Sunday 12-6pm
And by appointment
The exhibition is also part of PECKHAM 24:
Friday 17th May, Late Opening 6-9pm
Saturday 18th May, 3-4pm. In Conversation: Martin Seeds and Sarah Allen
1. Martin Seeds, From the series Masks. Unique silver gelatin print (2019)
2. Installation View, Martin Seeds, Violence Religion Injustice Death. Photograph courtesy of Deniz Guzel, Guzel Photography (2019)
3. Martin Seeds, From the series Disagreements, Stormont Estate, Belfast (2018)
With the fifth edition of Photo London at Somerset House comes its annual Pavilion Commission Programme. With the support of The Royal Photographic Society, Sea Containers London, and Metro Imaging, this exhibition takes the theme of Women in Photography, featuring the work of three very different women photographers – Rachel Louise Brown, Susan Meiselas, Mary McCartney – whose work will appear on the sides of the main Pavilion in the central courtyard of Somerset House.
Metro has worked with artist Mary McCartney in working through her archive and producing high resolution scans from her seminal series ‘Off Pointe – An in-depth Photographic Study of the Royal Ballet After Hours’, part of which is in the permanent collection of the Victoria & Albert Museum, London.
The photographic work is focused on discovering those rare moments of unguarded and emotionally-charged intimacy, captured from within the ballet dancers; offering new insight to the subject, behind-the-scenes as they prepare for performances at The Royal Opera House.
“I wanted to reveal unseen aspects of the world of ballet, showing the ups-and-downs, the prestige and the chaos of life behind-the-scenes at the Royal Ballet. I was particularly interested in the contrast between the sometimes gruelling, painful lifestyle of the dancers and their fairy-tale performances… I wanted the photographs to dispel many myths about the life of dancers and show the real-life effort they devote to come across as the poised perfection played out on-stage.” -Mary McCartney
Photo London, 16th-19th May 2019
Somerset House, WC2R 1LA
For more details & opening hours, click here.
All images courtesy of © Mary McCartney
Photo London returns for its fifth year at Somerset House this May, bringing with it both contemporary and classic photography. We’ve had the pleasure to yet again be working with some incredible artists in producing new work for the show. We’ll be providing more coverage throughout the festival, but for now here are the ones you shouldn’t miss:
Having worked previously with Talmor before for Peckham 24 and Unseen Amsterdam, Metro were thrilled to once again frame for the beautifully intricate handprints from the artist’s series Constructed Landscapes. The series consists of staged landscapes made of collaged and montaged colour negatives shot across different locations, including Israel, Venezuela, the UK and USA. Initially taken as mere keepsakes, landscapes are merged and transformed through the act of slicing and splicing. The resulting photographs are a conflation, ‘real’ yet virtual and imaginary. This conflation aims to transform a specific place – initially loaded with personal meaning, memories and connotations – into a space that has been emptied of subjectivity and becomes universal. In dialogue with the history of photography, Constructed Landscapes references early Pictorialist tendencies of combination printing as well as Modernist experimental techniques such as montage, collage and multiple exposures. While distinctly holding historical references, the work also engages with contemporary discourses on manipulation, the analogue/digital divide and the effects these have on photography’s status and veracity. The exceptional images have been mounted to aluminium within subtle Keyline frames, suspending the prints on the wall.
Longstanding Metro client Edgar Martins will be presenting his newest work What Photography and Incarceration have in Common with an Empty Vase at Somerset House this year, and on display will be a mixture of Bespoke C-type prints and Black & White Silver Gelatin prints, each image fine-tuned to exact specifications. The multifaceted body of work has been developed from a collaboration with Grain Projects and HM Prison Birmingham (the largest category B prison in the Midlands, UK), its inmates, their families as well as a myriad of other local organisations and individuals. Using the social context of incarceration as a starting point, Martins explores the philosophical concept of absence, and address a broader consideration of the status of the photograph when questions of visibility, ethics, aesthetics and documentation intersect. By giving a voice to inmates’ families and addressing incarceration as a set of social relations beyond the prison walls, Martins’ work proposes to rethink and counter the sort of imagery normally associated with incarceration. Composed of three distinct chapters, encompassing archive and new photography, Martins’ work shifts between image and information, between fiction and evidence, strategically deploying visual and textual details in tandem so that the viewer becomes aware of what exists outside the confines of the frame.
We have had the pleasure of working with Oszvald to print her ethereal images on our Black & White Fibre-based gloss paper. While preferring to be labelled as a visual artist, Noell Oszvald uses the photographic medium as the raw material through which she channels her emotions. Favouring black and white in order to avoid any distraction that may be created by colours, she strips her images to their bare essence. Her compositions rely on pure straight lines into which the subject fuses, hence rubbing off all hierarchy within the components. The resulting sobriety, reinforced by the choice of a square format, acts as a breeding ground to a complex melange of subtle feelings derived from her melancholy and loneliness. The reassuring perfection of these images acts as a robust armour to the highly sensitive Oszvald, who despite her young age, proves herself to be an accomplished artist.
1. Edgar Martins – My spies tell me ‘er Facebook status says she’s in a relationship, 2019.
2. Dafna Talmor -Untitled (LO –TH -181818181818-1), 2018.
3. Noell Oszvald -Untitled #1, 2013.
PECKHAM 24 is a short festival of contemporary photography that takes in Copeland Park and Bussey Building place during Photo London week. For its fourth year, the festival is expanding, with additional exhibition spaces and a weekend programme packed with live events. The not-for-profit festival was created with the aim of a vibrant weekend of fringe events coinciding with Photo London and draw a crowd to experience the art scene in Peckham, South East London.
– A special Friday night projection by Tom Hunter of his project Le Crowbar performed as a slideshow by the artist.
– Rehearsing the Real, a group exhibition curated by Tom Lovelace, where the central element will be a live collaborative work, bringing together artists within one creative space. The exhibition also features work by Thom Bridge, Sarah Howe, Steff Jamieson, and includes photography, film, performance and text.
– Photographic Memory by Baud Postma in Safehouse 2.
– Go Home Polish by Michal Iwanowski and curated by Vivienne Gamble.
– Violence Religion Injustice Death by Martin Seeds with Seen Fifteen Gallery.
– For Those Who Could See Beyond The Surface, a group exhibition curated by Emma Bowkett and featuring Alexander Mourant.
Friday 17th May 6pm-1am
Saturday 18th May 12-6pm
Sunday 19th May 12-6pm
Admission is FREE
Location: Copeland Park and Bussey Building Access via 133 Rye Lane Peckham, SE15 3SN
- Installation view, Peckham 24 2018 © Imogen Freeland
- © Tom Hunter, Spray Suite, from the series Le Crowbar