Dream Meadow XXXIV, 2022


  • Edition of 3
  • 50 x 62.5 in / 127 x 152.4 cm
  • C-type print on Fuji Flex super gloss
  • Signed, numbered & titled on reverse
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‘…bears his unmistakable imprint: vivid colours, atmospheric lighting and the creative use of blur and movement. Eschewing digital post-production techniques, McConnell achieves his heightened images when shooting, through the deft manipulation of light, movement and long exposures.’

Sean O’Hagan, The Observer


Flowers and flower colours: God’s colours. Honour thy mother and father. Take pleasure in the deep petal beauty of the rose and the the similarly wondrous, roseate floridity of the alcohol-dependent noses of the fathers – breathing like beasts, asleep on their sofas. Note: the sofas not necessarily compliant with The Furniture and Furnishings (Fire Safety) Regulations Act 1988 (amended 1989, and 1993) in respect of resistance to cigarette ignition. Flowers as identifier codes of sectarian loyalties. Mothers: make a nice flower arrangement for your home: white lily (republican), orange lily (loyalist), shamrock (Ireland), and opium poppy (addicts). Fine Liberty print shirts with dried blood and crusted mucous on them – intravenous drug use is also good for the home mood effect. Honour the haemorrhage colours – the pretty flower colours of illness and fatality. Note: the movement of blood from the vein up into a syringe during injection is what addicts call ‘drawback’ – the blood creates shapes within the drug liquid in the syringe that are known as ‘flowers’ and which may be conducive to certain kinds of contemplative pleasure

Neal Brown, The Meaning of Flowers


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. McConnell’s handling of color pursues the hue of rave music culture as the distillation of late twentieth -century youth culture. It grinds down all kinds of disparate imagery that captures the glittering tail of burning brightly and recalls the phosphorescent smears of disco lights across bodies. McConnell’s work recaptures the flashes of Dave Swindells’s snapshots from 1990s London nightclubs; the use of paused frames in Mark Leckey’s film Fiorucci Made Me Hardcore (1999); the intense colour of Andy Bettles’s mid-1980s cross-process fashion editorials published in The Face magazine or Mark LeBon’s double-exposure portraits for i-D magazine at the same time; the Super-8 footage of Derek Jarman’s flower beds on Dungeness Beach filmed at night in The Garden (1990).

Alistair O’Neil, Aperture


It would be remiss of me not to mention the cool psychedelia that pervades McConnell’s work over the past decade. He has gone from using the techniques of a perhaps more salutary “documentary” style and has slowly loosened his grip on those austere technicalities to assume a lack of control in focus, shutter etc. which promotes a much more free and transcendent vision, not without allegory to Brion Gysin, Kenneth Anger and perhaps the musical interludes of Psychick Youth. In suggesting this, I am suggesting a consistency in McConnell’s mid-career that is inspiring.

Brad Feuerhelm, AmericanSuburbX