Edition of 20
42 x 59.4 cm / 16.5 x 23.4 in
Giclée print on Hahnemühle Photo Rag 308 gsm
Signed, titled & numbered on reverse
Shipped tracked and signed worldwide
Also available in larger sizes, please email email@example.com for more information.
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’Neill, Aperture 241, 2020
The Dream Meadow is the refutation of the doldrums of contemporary life and the belief system that embodies it. It is the collusion of lithe and nimble-bodied tribes perfumed and bent, their rictus bearing the hallmarks and modern traits of ritual abandon – a rejection of the now through perspiration and callous cavorting. Each grimace mustered is a silent exaltation of a performed escape. The Dream Meadow is alive. Its sing song affectation prefers the ear drums of taloned youth – it resounds throughout space like a lost echo of a missed past.
Brad Feuerhelm | American Suburbs X