Exhibitor listing
  • The No Mind Not Things No Thinks coppop, 2016 - Mike & Doug Starn
  • Golden 3, 2002-2015 - Garry Fabian Miller

Hackelbury Fine Art


HackelBury Fine Art
4 Launceston Place
London, W8 5RL
United Kingdom
T  44 20 7937 8688
F  44 20 7937 8868
gallery@hackelbury.co.uk
www.hackelbury.co.uk
E-mail address : gallery@hackelbury.co.uk
Website : http://www.hackelbury.co.uk
 

Exhibitor's Artists:

Pierre Cordier
Biography :
Pierre Cordier invented the chemigram in 1956. The chemigram combines the physics of painting (varnish, wax, oil) and the chemistry of photography (photosensitive emulsion, developer, fixer); without a camera, without an enlarger, and in full light. Cordier’s abstractions entice us to enter imaginary worlds of form, line and colour. Pierre Cordier’s chemigrams have been exhibited internationally, including at the Centre Georges Pompidou, Paris; the Musée d’Art Moderne, Brussels; the Victoria & Albert Museum, London; and the Museum of Modern Art, New York.


Garry Fabian Miller
Biography :
“The pictures I make are of something as yet unseen, which may only exist on the paper surface, or subsequently may be found in the world. I am seeking a state of mind which lifts the spirit, gives strength and a moment of clarity.” Garry Fabian Miller, Homeland, Dartmoor, 2009 Garry Fabian Miller was born in Bristol in 1957. In 1974 he undertook an intensive study of the remote island community of the Shetlands, an experience that strengthened his interest in rural communities, and his developing ideas about the potential of an artist’s life lived outside the mainstream of metropolitan culture. The importance of place has since become a predominant theme and was at the heart of his first major body of work Sections of England: The Sea Horizon in 1976: forty photographs taken from a fixed point on the roof of his home overlooking the Severn Estuary in which the photographic elements of lens and film and exposure remained constant so that the only change from frame to frame was in the time of day and the weather. The cumulative series presents a powerful study of time and place and were first shown as part of the Midland Open Exhibition at London’s Serpentine Gallery in 1977 and in a fuller form in his first solo exhibition at the Arnolfini Gallery in Bristol in 1979. In 1980, Fabian Miller moved to Lowfield Farm in a remote corner of Lincolnshire and since 1984 he has worked without a camera, using the techniques of early nineteenth century photographic exploration to experiment with the nature and possibilities of light as both medium and subject. Since 1992 he has explored a more abstract form of picture-making by passing light through coloured glass and liquid and cut paper forms. In parallel he has explored the ideas of exposure, the quantities of light that are required to make things visible, or invisible, in the making of a picture. In sharp contrast to the photographic norm of exposures that last for a fragment of a second, Fabian Miller Exhibition :
Selected Solo Exhbitions

2010 Garry Fabian Miller, HackelBury Fine Art, London, UK
2009 The Colours, Ingleby Gallery, Edinburgh UK. Time Passage, Abbot Hall, Kendall, UK
2008 Authentic Tidings of Invisible Things, An Tobar, Isle of Mull, UK . The Years, Nichido Contemporary Art, Tokyo, Japan
Year One, Newlyn Art Gallery, Newlyn, UK
2007-8 Year One, New Art Centre, Salisbury, UK
2007 Garry Fabian Miller and Edmund de Waal, Ingleby Gallery, Edinburgh, UK
2006 Garry Fabian Miller, Goss Gallery, Dallas, USA
2005 Becoming Magma, Victoria and Albert Museum, London, UK. Real in the World, Mead Gallery, University of Warwick (touring)
Galerie Nichido, Paris, France. Exposure, Ingleby Gallery, Edinburgh, UK. Rencontres d’Arles, International Festival of Photography, Arles, France
2004 Tracing Light, The Cleveland Museum of Arts, USA. Northern Suns Golden Storms, Nichido Contemporary Art, Tokyo, Japan
Blue, Gold, Hamiltons, London, UK. Imagined, Portfolio Group, Santa Fe, New Mexico, USA
2003 Golden Storms, Ingleby Gallery, Edinburgh, UK. Burning, Thought of a Night Sea, Valentina Moncada, Rome, Italy
2002 Flair, Tokyo Design Centre, Nichido Contemporary Art, Tokyo, Japan. Golden Burning, Night Cities, Purdy Hicks, London, UK
Graves Art Gallery, Sheffield, UK
2001 Petworth Windows, Purdy Hicks, London, UK. Gallery Camera Work, Berlin, Germany
2000 Thought of a Night Sea, Ingleby Gallery, Edinburgh, UK. Solar Eclipse, Bernard Toale Gallery, Boston, USA
Six Chapel row Contemporary Art, Bath, UK
1999 Towards a Solar Eclipse, Tate, St Ives, UK. Tracing Light, Petworth House, Sussex, UK
1998 In the Shadow of the Sun, Hamiltons Gallery, London, UK. Sections of England: The Sea Horizon, Valentina Moncada, Rome, Italy
1997 De La War Pavilion, Bexhill-on-Sea, Sussex, UK. Sections of England: The Sea Horizon, Arnolfini, Bristol, UK
Sections of England: The Sea Horizon, Michael Hue Williams Fine Art, London, UK
1996 Elective Affinities, Michael Hue Williams Fin


Garry Fabian Miller - Golden 3, 2002-2015
Golden 3, 2002-2015
Stephen Inggs
Biography :
Stephen Inggs is a professor of printmaking at the Michaelis School of Fine Art, University of Cape Town. He has exhibited widely in South Africa and is included in private and corporate collections worldwide. Inggs’ creative research focuses on the visual representation of overlooked material objects and places, as emblems of transience and history. Using an ‘archaeographical’ method of finding, collecting and photographing, his creative work explores ideas about the meaning of objects and places, and the potency that lies in their associations and traces of history, society, nature and culture. The objective of his work is to create new layers of meaning, linking our thoughts about the constructions of the past in relation to the present. The process of working with material objects as still lives and reviving them from relative obscurity, underlines the way it is possible to transform an object’s value, and confer a canonical status to something that has been previously overlooked. His research looks at ways in which visual analysis and creative translation can give new meaning to human engagement with the inanimate object world. Major research interests include printmaking, photography, artists’ books and portfolios, and the archaeology of identity. Projects have been largely located in lithography, photography and printmaking, each of which has had a complex history and relationship to issues of identity and the politics of knowledge. The influence of aesthetic criteria in printmaking and photography is an on-going concern that has informed his creative production. This body of work consists of powerful yet delicate large scale photographs, each one hand-coated with silver gelatin emulsion onto 100% cotton mould-made paper, using traditional techniques. The handmade, tactile and physical aspects of this process are used deliberately to underline the references to history, transience and the overlooked object.


Oli Kellett
Biography :
Oli Kellett is a British photographer based in Hastings, UK. Since 2008, he has dedicated himself to exploring the urban setting and our relationship with the crossroad. Working only with available natural light, Oli patiently waits until people, place and light all fall into place. Oli’s major body of work, Cross Road Blues, borrows its title from the legendary song by Delta Blues musician Robert Johnson. According to legend, Robert Johnson met the devil at a crossroads outside of Memphis and sold his soul in exchange for his musical talents. He was forever plagued despite his success. The mythology surrounding Johnson’s song can be interpreted as a cautionary tale of the price paid for the American Dream, and Kellett’s allusion to it leaves the viewer wondering if the figures in his photographs chose their souls or their dreams at their crossroads. Crossroads are a democratic place. We all have to wait. On average, we will spend five years ‘waiting’ during our lifetime. Being held at a ‘DON’T WALK’ sign allows us a few seconds, and occasionally minutes, to ask ourselves ‘Where do we come from?’ and ‘Where are we going?’ At the 2018 Royal Academy Summer Exhibition, Oli Kellett was awarded the Rose Award for Photography and the Arts Club Award. He was recently awarded the Royal Photographic Society International Photography Exhibition 161 Bronze Prize.


William Klein
Biography :
William Klein grew up in New York and, as a painter, went to work in Fernand Leger's Paris studio. He became interested in photography to record movement in his paintings and began using a camera. He was soon photographing other interests, and in 1954 his work was seen by American Vogue art director (and sculptor) Alexander Liberman, who offered him a contract as a fashion photographer. Liberman saw in his work a fresh approach and one that seemed to have a certain violence that would move the magazine away from the 'polite' images of Cecil Beaton. Because Klein did not know how to use a studio, he took the models out onto the streets to photograph. Later he pioneered the use of wide angle and telephoto lenses for fashion work. Klein's photo-reportage style involved a rejection of the established notion of the photographer as a 'fly on the wall', an unseen recorder of events. Klein recognized this and through his methods emphasized the interaction between photographer and subject, oftentimes almost pushing his wide angle camera lens into people’s faces. He went on to produce a book, New York, New York (1956) which featured this quick reflex 35mm street photography with a graphic design and text reflective of the New York Daily News and cheap advertising. This was followed by later books on Rome (1960), Moscow (1964) and Tokyo (1964). Klein also made a number of movies, starting with one of the first Pop films, Broadway by Light. In 1962 he gave up still photography (except for a few fashion pictures for Vogue) to produce films on Muhammed Ali and Little Richard, the Vietnam War, and experimental films Mr Freedom and Qui-Êtes Vous Polly Magoo, a satire of Vogue. Klein returned to still photography circa 1980, mainly photographing people in crowd situations using an extreme wide angle lens. His work is held in major museum collections including the Museum of Modern Art in New York, and the Museum of Modern Art de la Ville, Paris.


Katja Liebmann
Biography :
Contemporary German artist Katja Liebmann is a graduate of the Royal College of Art, the Kunsthochschule Berlin and the Academy of Fine Art, Nuremberg who first gained critical acclaim for her low tech camera series Gotham City, which was acquired by the Saatchi Collection. Katja describes herself as a ‘painterly soul’, citing Rembrandt, Turner, Poussin, and Titian as her inspiration. On a quest for beauty and harmony, seeking order from chaos, her images are characterised by a softness and longing which she likens to German Romanticism. The work of Katja Liebmann records the energy, isolation and alienation of urban life whilst maintaining a reflective, dreamlike quality. Much of her work is printed using low tech nineteenth century processes, such as the Gotham City pieces which were created with the Van Dyke process. The negative is contact printed using sunlight to produce rare and timeless photographs. The Journeys and Dwellings series feature cyanotype prints, one of the oldest photographic processes. The blue tone of the cyanotype prints on textured etching paper enhances the romance of the images; heavy raindrops are blotted onto the hazy scenes outside and shadowy trees float against vast stone facades. Katja’s use of this early photographic technique is not a sentimental choice however; for her it simply presents the best means to portray the ephemerality of time and existence. Katja Liebmann was nominated for the 1998 Citibank Photography Prize (now the Deutsche Börse Photography Prize) and was awarded the prestigious DAAD scholarship in 1995. Her work is in the permanent collections of the Royal College of Art, London; the Victoria and Albert Museum, London; the Charles Saatchi Collection, London; the LzO Art Collection, (Landessparkasse zu Oldenburg), Oldenburg; the Bishkek Art Centre, Kirgisien; and the Omsk Museum of Visual Arts, among others.


Ian McKeever
Biography :
Born 1946, Withernsea, England, Ian McKeever’s first contact with professional artists was in 1969, when he rented a studio from SPACE, an artists’ collective working at St. Katherine’s Dock, in the heart of London’s dockland. His first exhibition was in 1971 when he was invited to participate in an exhibition of SPACE artists in Berlin. Through this contact he began lecturing at the Slade School of Fine Art, London. Since then he has taught extensively in Great Britain, Germany and the USA. He is currently Visiting Professor in Painting at the Faculty of Art and Architecture at the University of Brighton and between 2006-2011 he was Professor of Drawing at the Royal Academy School of Arts, London. In 2003 he was elected a Royal Academician. McKeever has written numerous texts and essays on art, including Black and White and How to Paint with a Hammer in 1982, Thoughts on Emil Nolde in 1996 and In Praise of Painting, three essays in 2005. In 1989 McKeever was given the prestigious DAAD scholarship to live and work in Berlin. This was followed in 1990 by a major retrospective exhibition of his work at the Whitechapel Art Gallery, London. Since 1971 he has exhibited extensively including major exhibitions at the Kunstverein Braunschweig in 1987, the Porin Taidemuseo in 1997, the Kunsthallen Brandts Klaederfabrik, Odense in 2001 and 2007, the Morat Institute, Freiburg in 2005 and 2007, the New Carlsberg Glyptotek, Copenhagen in 2006, the Royal Academy of Arts, London in 2010, and the Sønderjyllands Kunstmuseet in 2011. He has participated in numerous group exhibitions, including Dialogue Moderna Museet, Stockholm in 1985 , New Abstraction at the Museo Nacional Centro de Arte, Reina Sofia, Madrid and Museo d’Art Contemporarie, Barcelona in 1996, Royal Academicians in China at the National Art Gallery in Beijing, the Shanghai Art Museum, The Royal Academy, London in 2005/06, and Tate Britain in 2011. The work is presented in numerous public col


Nadezda Nikolova-Kratzer
Biography :
Nadezda Nikolova-Kratzer (b. 1978, former Yugoslavia) is a photographic artist presently working with wet plate collodion photograms. Her practice is informed by an experimental approach to early photographic processes and her interest in the image as object. Captivated by the fluidity of wet plate collodion, she manipulates the medium while simultaneously courting chance intrinsic to handmade photography: “I spray, dab and brush on the chemistry in a performative enactment rather than an image capture. (Sometimes, the brush strokes leave physical marks on the emulsion.) In essence, I am negotiating with the chemistry, guiding it. But only to a point. The chemistry has a say in the final image.” The abstract landscape series, Elemental Forms: Landscapes, emerged as the artist’s direct response to her surroundings and to feeling a sense of well-being and security within the landscape. She believes that each locale has its specific identity, history and emotional imprint. Her aim with this series is to record intangible aspects of the landscape, as she experiences them through immersion and observation, without the camera’s capacity for transcription. The photogram as medium allows the artist to search for the essence of the place by using simplicity and abstraction. By reinterpreting a 19th century process and reducing photography to its essential components, the artist has created a unique visual vocabulary suggestive of landscapes that exist outside of space and time. Nadezda Nikolova-Kratzer studied historic processes at George Eastman Museum with Mark Osterman and at the University of Kentucky. She was a finalist for the 2018 LensCulture Exposure Awards. She lives and works in Oakland, California.


Malick Sidibé




Mike & Doug Starn
Biography :
‘Photography isn't just an image, anymore than a painting is just paint. The print is an object, and this object becomes the embodiment of a concept. We always felt that since, in photography, physical reality was directly and perfectly captured, the real world (warts and all) should be apparent in its realization - the print. Secondly, that photography captures a moment in time, but the artwork created from the photograph continues in time, the artwork is not frozen. Over the years, the work experiences changes - physically and conceptually, like the deteriorated tallow and roses in a Beuys or as Duchamp's Ready-mades, now rarified (anti-)heroic masterpieces of the 20th Century, completely antithetical to their original concept. The passage of time works to transform the being and the meaning of everything.’ Doug & Mike Starn, September 2009 Doug and Mike Starn were born in New Jersey in 1961. Identical twins, they work collaboratively with photography and continue defying categorization, effectively combining traditionally separate disciplines such as sculpture, photography, painting, video, and installation. This summer the Starns continue the evolution of their monumental installation Big Bambú You Can’t, You Don’t, and You Won’t Stop at the 54th Venice Biennale. Housed at the Casa Artom, next door to the Peggy Guggenheim Collection, the central aspect of this ongoing sculpture is a 50’ tall hollow tower of bamboo, with a trail spiraling up to the top reaching a 20' wide roof top lounge. The Starns and their crew of rock climbers will continue to lash together bamboo, sustaining the spiral upward until the closing day of the sculpture, June 15th. Big Bambú by Mike & Doug Starn has manifested itself in several forms. Firstly in their studio, the former Tallix foundry where it continues to evolve through on-going rebuilding and rethinking of the structure at all times. Embodying the notions of adaptation and interconnectedness, Big Exhibition :
Selected gallery exhibitions

2010 Baldwin Gallery, Aspen, Colorado.
2009 Big Bambú, Wetterling Gallery, Stockholm, Sweden.
2008 Doug and Mike Starn, Thordén Wetterling Gallery, Göteborg, Sweden.
Attracted to Light, Steele Gallery at Rocky Mountain College of Art and Design, Denver, Colorado. alleverythingthatisyou, David Weinberg Gallery in conjunction with The Chicago Humanities Festival, Chicago, Illinois.
2007 alleverythingthatisyou, Wetterling Gallery, Stockholm, Sweden.
2006 Opposition of Coincidents, Torch Gallery, Amsterdam, The Netherlands
alleverythingthatisyou, Baldwin Gallery, Aspen, Colorado
Mike and Doug Starn, Galeria Metta, Madrid, Spain.
2005 Impermanence, Leo Castelli Gallery, New York, New York.
2004 I’m a negative falling down to the light a silhouette veins flowing with black visible to these useless blind eyes, Björn Wetterling Gallery, Stockholm, Sweden. Toshodaiji, Akira Ikeda Gallery, Taura, Japan. (travelling exhibition).
Attracted to Light, Baldwin Gallery, Aspen, Colorado.
Doug & Mike Starn, Lehmann Maupin Gallery, New York, New York.
2003 Attracted to Light, Stephen Wirtz Gallery, San Francisco, California.
Absorption of Light, Lisa Sette Gallery, Scottsdale, Arizona; Galerie Bhak, Seoul, South Korea; Torch Gallery, Amsterdam, the Netherlands; Galerie Hans Mayer, Düsseldorf, Germany. (travelling exhibition).
2001-02
Absorption of Light, Stephen Wirtz Gallery, San Francisco, California.
2001 New Work, Weinstein Gallery, Minneapolis, Minnesota.
2000 Black Pulse, Baldwin Gallery, Aspen, Colorado.
1996 Helio Libri, Fay Gold Gallery, Atlanta, Georgia.
1995 Galerie Bhak, Seoul, South Korea. Helio Libri, Pace / MacGill Gallery, New York, New York.
1994 Spectroheliographs, Leo Castelli Gallery, New York, New York.
1993 Akira Ikeda Gallery, Tokyo, Japan. Akira Ikeda Gallery, Taura, Japan.
1992 Yellow and Blue Louvre Floor – A Project, Galerie Thaddaeus Ropac, Paris, France
Leo Castelli Gallery, New York, New York


Mike & Doug Starn - The No Mind Not Things No Thinks coppop, 2016
The No Mind Not Things No Thinks coppop, 2016
Alys Tomlinson
Biography :
Alys Tomlinson (b.1975) grew up in Brighton, UK and studied photography at Central Saint Martins. She recently completed an MA (Distinction) in Anthropology at SOAS, University of London. Her projects are often research-led and Alys is most interested in the relationship between people and place, exploring themes of environment, belonging and identity. Her major body of work ‘Ex-Voto’ (2016-2018) explores Christian pilgrimage sites in Lourdes (France), Ballyvourney (Ireland) and Grabarka (Poland). Often placed anonymously and hidden from view, ex-voto are left by pilgrims as expressions of hope and gratitude, creating a tangible narrative between faith, person and the landscape. The project images encompass formal portraiture, large format landscape and small, detailed still-life shots of the objects and markers left behind. Shot on 5×4, large format film, the images evoke a distinct stillness and reflect the mysterious, timeless quality present at these sites of great spiritual contemplation. Alys lives and works in London. Recent awards and exhibitions include: Rencontres d’Arles New Discovery Award 2019 Shortlist & Public Prize Winner; Photographer of the Year Award at the 2018 Sony World Photography Awards; 1st Prize (Discovery Category) at the 2018 Sony World Photography Awards; Taylor Wessing Portrait Prize Shortlist (National Portrait Gallery); BJP/International Photography Award Shortlist; Renaissance Photography Prize (Finalist); Royal Photographic Society International Photography Exhibition 161 Silver Prize; Hotshoe Award/Renaissance Photography Prize Winner; Magenta Foundation Flash Forward and PDN 30. ‘Ex-Voto’ was published as a book by GOST in Spring 2019.


Other Artists represented by the Gallery:

Bill Armstrong
Biography : “Like a sculptor, Armstrong has pared away all but the figure, letting it fly or fall or struggle. Removing extraneous detail, he gives it new life. Armstrong breathes into the darkness to reveal the shadow of man against the light, the classic tale as well as the essence of photography.” W.M. Hunt, ‘Shadow in the Sun’ Renaissance is a portfolio of photographs in the ongoing Infinity series: an extensive body of work begun in 1997. They are made using a unique process of photographing found images extremely out of focus, with the lens set at infinity. In this case, the source materials are reworked master drawings, mostly from the Renaissance. The multi-layered process of reproduction and blurring, appropriating an image and subjecting it to a series of manipulations (photocopying, cutting, painting, re-photographing) transforms the original images, giving them a new meaning in a new context - a renaissance of the Renaissance. The original drawings were attempts to capture the human figure in a specific action, either from Biblical, mythological or historical scenes, but the rough sketches are removed from the milieu of the larger whole. Armstrong’s process accentuates the extraction, removing them further from their context and adding a new psychology of colour to the achromatic drawings. Extreme blurring erases features, dissolves identity and obscures individuality while retaining the essence of the original gesture, so that a 15th century religious figure can have secular relevance today. “My overarching aim is to use blur to create a parallel universe which can act as a spirit double for the material world. While my work pretends to be of the real world, that is an illusion, a conjurer’s trick. My process involves making two-dimensional collages from found or appropriated images, and then photographing them extremely out of focus. By turning the lens to infinity—a setting meant for capturing depth of field—and then shooting close up, Exhibition : Selected solo exhibitions 2011 Photographs From the Infinity Series, 1998-Present, Southeast Museum of Photography, Daytona Beach, FL, date to be announced 2010 Renaissance, HackelBury Fine Art, London, UK 2009 Renaissance, Gallery Kayafas, Boston, MA 2008-9 Photo Mandalas: Bill Armstrong and Milan Fano Blatny, Philadelphia Museum of Art, Philadelphia, PA, curated by Katherine Ware 2008 Renaissance, ClampArt, New York, NY 2007 Apparition, Silver Eye Centre for Photography, Pittsburgh, PA Spirit: From Darkness to Light, DeSantos Gallery, Houston, TX, 2006 Blue Sphere, Robischon Gallery, Denver, CO Apparition, Parkerson Gallery, Houston, TX Photographs from the Infinity Series, Scott White Contemporary Art, San Diego, CA 2005 Apparition, ClampArt, New York, NY Spirit, Gallery Kayafas, Boston, MA 2004 Spirit, ClampArt, New York, NY 2003 Recent Photographs, Sara Nightingale Gallery, Water Mill, NY Mandala, Griffin Museum of Photography, Winchester, MA Mandala, Joel Soroka Gallery, Aspen, Co 2001 Photographs from the Infinity Series, An American Space Gallery, New York, NY 2000 Recent Photographs, McCann-Erikson Gallery, New York, NY 1999 Recent Photographs, Roy Park School of Communications, Ithaca College, Ithaca, NY 1997 Accidental Portraits, International Centre of Photography Education Gallery, New York, NY, Recent Photographs, Uma Gallery, New York, NY Selected group exhibitions 2010 The AIPAD Photography Show, HackelBury Fine Art, London, UK 2009 Photography Now: vision, devotion, revelation, HackelBury Fine Art, London, UK The Scene and the Dream of Photographs, Forma Centro Internazionale di Fotografia, Milan, Paris Photo booth Pingyao International Photography Festival, Pingyao, China The Christopher Hyland Collection New Britain Museum of Art, New Britain, CT The Edge of Vision: The Rise of Abstraction in Photography, Aperture Foundation, New York, NY Contact Sheet, School of Visual Arts, New York, NY Paris, Ambient Art Projec

ABOUT

20th and 21st Century Works of Art
Founded in 1998
Marcus Bury   Owner
Sascha Hackel   Owner
Kate Stevens   Director
Phil Crook   Manager
HackelBury exhibits 20th and 21st Century works of art from a carefully selected stable of artists. Our primary focus is on mid-career artists, with an emphasis on photography as it informs and inspires contemporary art practice. The gallery was opened in 1998 and continues to develop and thrive through an expanding program of gallery exhibits, international art fairs, and museum and publishing collaborations.
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