Turner or James McNeill Whistler who dealt with looking at nature. And then there's the history of great English painters such as J. I've created a skyline and there are some cloud paintings that are right before you meet the actual clouds. I've dealt with the height of the gallery space by placing paintings high up. Sometimes his paintings are really intimate. He used plastic sheeting so that the huge main gallery at Whitechapel that's difficult to deal with became much lower and a more manageable height. I had a lot of ideas – I was especially influenced by the Kai Althoff exhibition at Whitechapel Gallery (7th October 2020 to 12th January 2021). Engaging with the height was really important. You think you have so much space but then it's actually not that huge in terms of length. How have you approached the architecture of the space?Īlvaro Barrington: When I started building the installation, it was a little misleading because the gallery ceiling is so high. Imelda Barnard: You've created a site-specific installation for your solo show at South London Gallery. I spoke to Barrington ahead of his South London Gallery show about augmented reality, making art in the information age, and why rules are there to be broken. An installation divides the gallery into the global North and South – a way for Barrington to reflect on the inequalities between the two – and a new body of work engages with the ways in which the digital increasingly impacts upon our lives. But no less central is the 1980s Brooklyn of his youth, especially the music from that era.įor his current exhibition ' Alvaro Barrington: Spider The Pig, Pig the Spider' at South London Gallery – his first major solo show in a UK institution – Barrington characteristically unites a vast number of references, including Orwell's Animal Farm, Peppa Pig, video games and Louise Bourgeois' spider sculptures. The Caribbean, in particular, exerts a huge influence on the artist, with many of his works making use of specific motifs – banana leaves, hibiscus flowers, yams – that connect with his heritage. He has photographed many of today’s musical pioneers including Yazz Ahmed, Joe Armon Jones, Michael Kiwanuka, Sampa the Great and Ezra Collective, and has worked with world-leading brands like lingerie designers Edge O’ Beyond and Fleur of England.Born in Venezuela and raised between the Caribbean and New York, Barrington is also alert to the histories of cultural production and exchange in these various locations. Working exclusively with Leica & Fujifilm equipment, Seb’s instinctive practice utilises analogue controls, environmental light, vintage lenses and dynamic settings.
With a special gift for capturing the inward expanse of any moment, Seb’s work is known for the dreamlike, immersive quality he extracts from whatever he’s shooting, His images have been used by top brands, record labels, on magazine covers, in photo essays and other curious places.
Seb is an internationally published portrait, music and fine art photographer currently based between London, Bristol and Cambridge. But, to speak plainly about it: I missed taking portraits of people, had a potentially stupid idea relating to a plant mister, and had friends who I was able to convince to try my silly idea.” To speak poetically of Proxy, it’s a project meditating on distance and distortion, both physical and emotional, and an exploration of the unique qualities and opportunities of a less than ideal creative environment. “Proxy is a project that I’ve been working on in spite of, and in fact in direct response to the grand unpleasantness that has been unfolding this year.
#Distorted portraiture series
This series is the perfect example of Seb’s creative approach he sees a limit, and ever-so nonchalantly turns those limits into his own creative tools. More: Seb JJ Peters, Instagram h/t: 121clicksĪs ever, Seb is continually pushing the boundaries of his discipline, creating a series of interesting and human portraits, as well as a unique and wide-ranging set of aesthetics at a time where nationally, and globally we are restricted in unprecedented ways. Almost an extension of his catalogue of ingenious tricks, ‘Proxy’ takes the remote photoshoot into the realm of fine art, cleverly using household items smeared over a perspex screen to manipulate his images in real-time. ‘Proxy’: a collection of abstract portraits, unfettered by proximity, meditating on distance & distortion.
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