Presence XVI, 2017

£60.00

  • Edition of 33
  • 8.3 x 11.7 in / 21 x 29.7 cm
  • Giclée print on Hahnemühle Baryta Gloss 350gsm
  • Signed, numbered & titled on reverse
  • Shipped tracked & signed worldwide
  • Dispatched within 3-5 days
  • Shipping £6 UK / £12 Europe / £20 Worldwide
  • If lost or damaged in transit we will ALWAYS replace

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This price is for a limited time only
Sold in order, first buyer gets 01/33 etc
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‘In all likelihood, The Dream Meadow is a fabrication of bodies photographed on a stage, perhaps even production stills from an unknown Macbeth. They are assembled in such a way that makes one consider their genesis in their abundance and togetherness in front of McConnell’s lens, but after a cursory examination, the “who’s” of the matter dissipate into the “why’s”. There remains an air of ritual in the work, the frames feel tremulous and recall the British folk tradition of Pagan Horror that made their way through the 70s and 80s via Hammer and other “weird folk Britania” outlets. There is nothing horrific per se here, but the indulgence of witchery, herbal psychedelia and pagan tribalism are apparent. It could be a by-product of Gareth’s age and interests, but obliquely I suspect that there is a precise interest in using the body and its movements as a stalwart against the state.’

Brad Feuerhelm | American Suburbs X

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'There are theories that young people rely on celestial cues for orientation and are attracted to lights which may correspond to stars and the moon. In the natural world intense light sources other than celestial ones do not exist. Some urban young people have learned to ignore artificial light, but continue to use other means of orientation, avoiding those that are lethal. But many others of course do not, and fly into the heat of the light to perish' 

Neal Brown, Stinky Words 

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‘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.' 

Alistair O’Neill, Aperture