Approved: 16.08.2006

Andrew Parker

Artist, Teacher

Approved: 16.08.2006

My methodology has varied over the years but there is more of a development phase now. Not all of my ideas make it past this development stage, whereas some seem to fall into place straight away. I’m much more comfortable discarding photographic series now - possibly aided by a surfeit of interests within landscape photography. I'm currently using a digital camera in the development of my latest project but I can envisage using an analogue camera once I've worked out how I want the images to look. Digital photography greatly reduces the cost and so I'm happier to spend time playing with an idea first. The cost of film would otherwise be prohibitive. 

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    Merchandise

       

      Artist Statement

      My methodology has varied over the years but there is more of a development phase now. Not all of my ideas make it past this development stage, whereas some seem to fall into place straight away. I’m much more comfortable discarding photographic series now - possibly aided by a surfeit of interests within landscape photography. I'm currently using a digital camera in the development of my latest project but I can envisage using an analogue camera once I've worked out how I want the images to look. Digital photography greatly reduces the cost and so I'm happier to spend time playing with an idea first. The cost of film would otherwise be prohibitive. 

      My more recent projects have been structured around photographing varieties of 'types'. The best example being my recent work collecting images of rural filling stations where I wanted to record a subject quite objectively without too much deviation in terms of the angle or perspective. I was quite happy to experiment with the lighting and this element varies from image to image. I think that the differing weather conditions add a dimension to the work that woiuld have been lacking had I opted for a psuedo scientific approach and sought overcast conditions for all the images.

      Until recently I have been creating images using analogue cameras. The filling station project, Not 24 Hours, was shot on Fujichrome transparency stock and then scanned as digital images. The quality of 6 x7 transparencies is superb but the cost of the film and the long winded process has led me to experiment with digital photography for exhibition work. I currently have two projects that I am keen to pursue – others having fallen by the wayside during development.

      As mentioned, I am open to the idea of moving to a smaller analogue medium format camera as transparency film can still produce excellent quality from smaller originals -even 35mm is a possibility. Digital is more convenient though as it is more compatible with social media, which has become a more influential part of the working process and an important marketing tool. I can envisage digital photography playing a role in the developmental stages of my projects and the subsequent publicising of them - bookending the whole process. But at this moment in time I seek to return to analogue.

      As the years have passed structure has become more and more important in terms of holding a set of pictures together. My work has always had a central narrative but now my work is tighter in terms of the relationship between each image. This is something that emerged during my project Stolen From the People? where images were grouped to strengthen the narrative. This is what attracted me to photographing ‘types’ as the structure was inbuilt and ensured a consistent approach in emphasising the narrative. I will be moving away from this with the newer projects (Edgelands and Magic, Mystery and the Weather), although the attention to framing and composition employed during the last three projects will influence the approach.

      Influences include: Paul Graham, Lewis Baltz, Lee Friedlander, John Davies, John Gossage, Gabriele Basilico, Jeff Brouws, Ed Ruscha, Stephen Shore.

      Career path: 1994 Cert Ed, SCAT, Taunton, Somerset 1990 HND, Documentary Photography, Gwent College, Newport, Gwent

      CV & Education

      Qualifications and training 1990 - Documentary Photography, Gwent College, Newport

      Solo exhibitions 2018 The Ripley Arts Centre, Bromley 2016 The Black Swan Arts Centre, Frome 2014 Photographique, Bristol 2013 The Wharf Ars Centre, Tavistock 2009 - End of the Line, Plough Arts Centre,, Torrington 2005 - Stop Lines, Phoenix Arts and Media, Exeter 1999 - Yeovil Arts Centre 1998 - Torbay Hospital 1997 - Admiral Blake Museum, Bridgwater 1995 - Derby Photography Festival 1994 - Bridport Arts Centre 1994 - Islington Arts Factory 1993 - The Watershed, Bristol 1992 - F Stop Gallery, Bath 1991 - Brewhouse Theatre, Taunton

      Group exhibitions 2012 - 100 Years of Photography in Newport, University of Wales, Newport 2012 - The Quartz Festival, Queens College, Taunton 2007 - Photography Show, Loplop Gallery, Poole 2002 - Grain, Phoenix Gallery, Brighton 1999 - Carnival, Meeting House, Ilminster 1995 - Brymon Airways and South West Arts, touring Bristol, Plymouth and Newquay airports 1991 - Photography Newport, RPS, Bath 1989 - Somerset through Time, Rural Tour, Somerset

      Competitions, prizes and awards 1995 - South West Arts Project Award, South West Arts, Exeter

      Educational experience - tertiary 1993 - Part time lecturer, Somerset College of Art and Technology, Taunton

      Reviews and Media Coverage: 2013 Devon Life - September Issue; Western Daily Press 19/11/13; Mail Online, November 2013; 7th June 2015 BBC Breakfast and BBC WEBSITE: http://www.bbc.co.uk/news/entertainment-arts-32974892