Dream Meadow XXVII, 2021


  • Edition of 10
  • 30 x 36.7 in / 76.2 x 93.2 cm
  • Giclée print on Hahnemühle Photo Rag 308 gsm
  • Signed, numbered & titled on reverse
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with an artist: a mind not starving/hysterical/naked destroyed by alcohol and drugs, violent sectarianism, sarcasm, or lurid gummy sweets, but who practices an intense ardour – a rapture with the city and its urban plant life, including the city’s fine florists whose high raptures with the floral make visible an ecstasy . . . a light show of psychotropic incandescence, multi-coloured, intravenous inks, delirious registration slippages, whose flower perfume dominates the residual Charles Manson faecal smell in the flower soil, or the daintily rotten, discoloured water

(folk culture and rural traditions have traditionally assigned symbolic meaning to flowers, such as Gardenia meaning: Ecstasy (MDMA)/Acid House and Rave/objective quantitative colour information of MDMA using visible hyper-spectral imaging/florid red faced from dancing/water intoxication/cerebral oedema)

Neal Brown, 2021


'There is a cultish pandering involved that implores a state of colorful mysticism and regulates against the cold and rampant imagery being pumped out of the academies at present. Gareth is a magician to some degree, an 8th degree master of the church of psychedelic abstraction and I consider his invocations as praise-worthy. I am reminded historically of a lens magician named William Mortensen whose work functioned through cinematic pictorialism with an emphasis that oscillated between the grand and the grotesque – a chemical halo of an auratic Los Angeles situated stage left at an imagined Grand Guignol. Though Gareth’s work is not grotesque by means, it does carry about it an air of paganism and a devotion to alternatives. The Dream Meadow is one of his finest works to date and I count myself as a follower.'

Brad Feuerhelm | American Suburbs X

'Gareth McConnell’s photographs of his bed and flowers have to be understood with his other work in mind. The motivation and poignance behind the images in Meditations (2004–08), Night Flowers (2002–10), make little sense if you don’t know McConnell’s shocking and affective images in the series Anti-Social Behaviour Parts I & II (1995) — victims of paramilitary punishment beatings in his homeland of Northern Ireland, or IV drug users who were his friends and sometime community. This is true of beautiful things, isn’t it? Beauty is cloying and saccharine when it’s too easily granted.'

Alison Green