Edition of 10 + 2 AP
Giclée print on Hahnemühle Photo Rag 308 gsm
76.2 x 94 cm / 30 x 37 in
Signed, numbered & titled on reverse
Shipped tracked & signed worldwide
Gareth McConnell’s recent projects are essays in youthful bodies, saturated colors, and floral forms. They resemble stills from a cult initiation ceremony, a psychedelic clinical trial, or a nudist photography club. Their unexplained nature is countered by a calibrated use of color, as if shade and tint, not form, unlock their meaning. McConnell’s handling of color pursues the hue of rave music culture as the distillation of late twentieth -century youth culture. It grinds down all kinds of disparate imagery that captures the glittering tail of burning brightly and recalls the phosphorescent smears of disco lights across bodies. McConnell’s work recaptures the flashes of Dave Swindells’s snapshots from 1990s London nightclubs; the use of paused frames in Mark Leckey’s film Fiorucci Made Me Hardcore (1999); the intense colour of Andy Bettles’s mid-1980s cross-process fashion editorials published in The Face magazine or Mark LeBon’s double-exposure portraits for i-D magazine at the same time; the Super-8 footage of Derek Jarman’s flower beds on Dungeness Beach filmed at night in The Garden (1990).
Alistair O’Neil, Aperture
It would be remiss of me not to mention the cool psychedelia that pervades McConnell’s work over the past decade. He has gone from using the techniques of a perhaps more salutary “documentary” style and has slowly loosened his grip on those austere technicalities to assume a lack of control in focus, shutter etc. which promotes a much more free and transcendent vision, not without allegory to Brion Gysin, Kenneth Anger and perhaps the musical interludes of Psychick Youth. In suggesting this, I am suggesting a consistency in McConnell’s mid-career that is inspiring.’
Brad Feuerhelm, AmericanSuburbX
…bears his unmistakable imprint: vivid colours, atmospheric lighting and the creative use of blur and movement. Eschewing digital post-production techniques, McConnell achieves his heightened images when shooting, through the deft manipulation of light, movement and long exposures.
Sean O’Hagan, The Observer