Phoenix Art Space presents a second solo exhibition of photography by Fergus Heron in the Project Space. Exhibited works are selected from ongoing projects picturing natural formations with woodlands, rivers and coasts.

 

Bringing together colour photography made with a view camera over a twenty-year duration including locations in the Highlands of Scotland and South-East England, the combination of work in the exhibition pictures different places of Fergus Heron’s repeated encounters with the natural world. His approach brings renewed attention to ways of picturing that counterpoint absence and distance with wildness and intimacy, proposing interdependent relations between human and more-than-human natures with photography.

 

The exhibition consolidates long term research exploring questions of how photography with ecological formations can influence ideas of place beyond describing the appearances of landscape views, and why seeing with photography as a relational process, considering nature and culture in close relation, can be a way of resituating ourselves in ecologies with which we are deeply interconnected.

 

Private View: Thursday 18 June, 18:00 – 20:00

 

Fergus Heron (b. 1972, London) is an artist known for his photography with natural formations and urban environments. He studied Photography at the Royal College of Art and the University for the Creative Arts at Farnham. Exhibitions featuring his work have taken place at venues including Tate Britain and Centre for Contemporary Art and the Natural World. Heron selected The Photographers’ Gallery, Photography Culture, Photography and Landscape (London: The Photographers’ Gallery) and edited Visible Economies (Brighton: Photoworks). His photography and writing are published in Emerging Landscapes (Abingdon: Routledge) and A Companion to Photography (Oxford: Blackwell). Fergus Heron is a Senior Lecturer, Course Leader for MA Photography and a research supervisor in the School of Art and Media at the University of Brighton.

 

This exhibition is supported by research and knowledge exchange funding from the School of Art and Media at the University of Brighton.