As always, the safety and wellbeing of our clients, partners and staff is priority. With the current climate in mind, and latest health guidelines issued we will now be closing all Metro Imaging (inc. Metro Print) premises from today, Monday March 23rd, until further notice.
We are continuing to monitor all Government instructions relating to the COVID-19 (Coronavirus) situation, and will notify all our clients as soon as it’s safe to reopen our offices.
We will do our very best to keep you updated on any significant changes, and will, for the time-being, ensure that current enquiries are dealt with promptly.
Should you have any specific concerns or urgent queries about an order please do not hesitate to contact us.
Stay safe and well,
A new exhibition opening in Carnaby Street next month will celebrate the vital legacy of youth clubs, while simultaneously highlighting how these safe spaces are in decline due to lack of funding. In collaboration between the Young Westminster Foundation and Positive View Foundation, this collection of work aims to remind us that youth clubs are still beating at the heart of culture and encourage the public to interact and learn from this free photography exhibition.
“This is an opportunity to dive into the history of Westminster’s youth clubs which have nurtured the vibrant heart of youth culture for 150 years.”
Home to the world’s first youth club in 1866, Westminster has played a key role in youth culture. From the mods and rockers of the swinging ‘60s who ventured to stylish Carnaby Street, to the rebellious punk era of the ’70s, and the grime and rap scene which dominates youth clubs today. Youth clubs have offered a safe space for young people to socialise and engage in activities with their peers.
Metro worked with the Young Westminster Foundation to produce a selection of the photographic work on digital c-type paper and photographic vinyl. The exhibition also includes a ‘memory wall’ which welcomes visitors to share their own youth club experiences to celebrate how organisations have helped nurture Westminster’s young people and support community development across the capital, and includes a physical installation which recreates the feel of a youth club where films from our local youth charities will be screened.
3 Carnaby St, London
09 – 22 August
Continuing our long-standing support for visual artists at the culturally focused Latitude Festival
, this year Metro are delighted to be producing exhibition installation with Iconic British photographer and director, Rankin
Famed for his iconic celebrity portraits, the portrait and fashion photographer and director has captured everyone from David Bowie to The Queen. But what’s it like to be shot by the legendary photographer?
In a cutting-edge partnership with Latitude, Rankin will deliver a keynote in the Music + Film Arena discussing three fearless decades behind the lens and the creative boundaries between art and artists. And in an iconic festival first, Rankin will also set up a live studio in the Faraway Forest where lucky festival-goers can have their portraits taken by the trailblazer himself.
Metro has produced a wall-to-wall installation of Rankin’s most iconic portraits via Direct To Media on Foamex, that will provide the perfect setting for a pop-up portrait studio in the middle of the Faraway Forest.
This is an artist spanning cultures and generations; the creator of Cool Britannia who stuck around long after the party finished, and has now become an icon in his own right. Rankin x Latitude is a one-off opportunity to hear from and be photographed by one of the world’s most prolific photographers.
Saturday, July 20
Music + Film Arena, Latitude Festival
To celebrate 50 years since NASA’s Apollo 11 mission and the first humans landing on the Moon, the National Maritime Museum presents The Moon, the UK’s biggest exhibition dedicated to the Earth’s most important satellite.
Featuring over 180 objects from national and international museums and private collections, the exhibition explores our relationship with the Moon over time and across civilisations from a cultural and scientific perspective.
Significant objects on display include the “Snoopy Cap” Communications Carrier, worn by astronaut Edwin “Buzz” Aldrin, and Hasselblad camera equipment that captured some of the most recognisable and iconic images of the 20th century.
Visitors will also have the unique opportunity to get close to a range of moon rocks such as lunar samples collected from NASA’s Apollo missions and the Soviet Union’s Luna programme, as well as a rare lunar meteorite from the Natural History Museum’s collection.
Historical and contemporary artworks will also be part of the exhibition, illustrating how the Moon has long inspired artists. Metro Imaging produced a series of moonlit scenes that will be displayed printed directly on Dibond, using our Direct to Media technology; as well as an assortment of handmade Bespoke Frames. Featured artists include J.M.W. Turner and John Constable, alongside contemporary pieces by Katie Paterson, El Anatsui, Chris Ofili, Sean Thomas Allen and Leonid Tishkov; and artworks by Cristina De Middel, Aleksandra Mir and Larissa Sansour.
Video artist Christian Stangl will also take part in the exhibition showing a new and exclusive version of his film ‘Lunar’, in which animated photographs from Apollo missions allow visitors to experience the Moon landings through the eyes of the astronauts. Apollo objects will sit alongside film posters, books, comics and magazines that celebrated and questioned these momentous events.
From 19 July 2019 – 5 January 2020
The National Maritime Museum
Admission: Adult £10.00 | Child £6.50 | Concession £6.65
Image courtesy of National Maritime Museum.
Dawn Parsonage has been collecting found photography for over 20 years, amassing a collection of over 10,000 images. Dawn curates these found photographs as well uses them as inspiration for her own work. Her collection of found photography posed the question: Is it even possible to become bored now? And is it possible to capture boredom on camera in an age where people are so image-conscious?
This is what inspired the contemporary boring portrait project. Working with psychologists, Dawn constructed a series of experiments to explore the idea of coaxing people into boredom. The three experiments each used different methods to achieve bored states:
1. An Endless Loop
The sitter is made to listen to a boring speech on a short loop.
2. Time Perception
The subject is alone with a loudly ticking clock which only has an hour hand and is, in fact, running at half speed. Time appears to be going slower than normal, drawing out their experience, coaxing a bored state.
3. Pain vs. Boredom
A recreation of Dr Erin C Westgate and Dr Timothy D Wilsons electrification experiment where subjects stay in a quiet room, where they could shock themselves to relieve their boredom. The experiment explores the lengths to which people will go to get relief from boredom.
The experiments were devised with help from social phycologist Dr Erin C Westgate of Ohio University, who conducted the original electrocution experiment and Adam Mastroianni PhD student in psychology at Harvard University as well as the book ‘The Science of Boredom’, Dr Sandi Mann.
“Dawn Parsonage’s “Boring Exhibition” brilliantly highlights the private struggles we all face when bored – the struggle to find meaning, to find ways to occupy our restless minds – and shares these intimate and often funny moments with the rest of us. The result is charming, deeply human – and definitely not boring.”
– Dr Erin C Westgate, Social Psychologist, Ohio State University.
Metro Imaging have been working closely with the artist since the birth of the project as the primary production partners, producing high-resolution scans, Bespoke C-type, and B&W Silver Gelatin prints. Dawn Parsonage’s first solo exhibition playfully explores boredom through photography, film and interaction via her found photography and newly created body of work. Don’t miss this unique show. You’ll either love it or be bored, each way it’s a win.
Private View: 26th June 6-9pm
Please RSVP: email@example.com
Exhibition Continues: 27th June – 6th July 2019
Bermondsey Project Space, London SE1 3UW
The exhibition has also received support from Dulux Paint, Intrepid Cameras, and Bright Rooms.
Photo London returns for its fifth year at Somerset House this May, bringing with it both contemporary and classic photography. We’ve had the pleasure to yet again be working with some incredible artists in producing new work for the show. We’ll be providing more coverage throughout the festival, but for now here are the ones you shouldn’t miss:
Dafna Talmor with Sid Motion Gallery & TOBE Gallery
Having worked previously with Talmor before for Peckham 24 and Unseen Amsterdam, Metro were thrilled to once again frame for the beautifully intricate handprints from the artist’s series Constructed Landscapes. The series consists of staged landscapes made of collaged and montaged colour negatives shot across different locations, including Israel, Venezuela, the UK and USA. Initially taken as mere keepsakes, landscapes are merged and transformed through the act of slicing and splicing. The resulting photographs are a conflation, ‘real’ yet virtual and imaginary. This conflation aims to transform a specific place – initially loaded with personal meaning, memories and connotations – into a space that has been emptied of subjectivity and becomes universal. In dialogue with the history of photography, Constructed Landscapes references early Pictorialist tendencies of combination printing as well as Modernist experimental techniques such as montage, collage and multiple exposures. While distinctly holding historical references, the work also engages with contemporary discourses on manipulation, the analogue/digital divide and the effects these have on photography’s status and veracity. The exceptional images have been mounted to aluminium within subtle Key-line frames, suspending the prints on the wall.
Edgar Martins with Purdy Hicks Gallery & Galería Pilar Serra
Longstanding Metro client Edgar Martins will be presenting his newest work What Photography and Incarceration have in Common with an Empty Vase at Somerset House this year, and on display will be a mixture of Bespoke C-type prints and Black & White Silver Gelatin prints, each image fine-tuned to exact specifications. The multifaceted body of work has been developed from a collaboration with Grain Projects and HM Prison Birmingham (the largest category B prison in the Midlands, UK), its inmates, their families as well as a myriad of other local organisations and individuals. Using the social context of incarceration as a starting point, Martins explores the philosophical concept of absence, and address a broader consideration of the status of the photograph when questions of visibility, ethics, aesthetics and documentation intersect. By giving a voice to inmates’ families and addressing incarceration as a set of social relations beyond the prison walls, Martins’ work proposes to rethink and counter the sort of imagery normally associated with incarceration. Composed of three distinct chapters, encompassing archive and new photography, Martins’ work shifts between image and information, between fiction and evidence, strategically deploying visual and textual details in tandem so that the viewer becomes aware of what exists outside the confines of the frame.
Noell Oszvald with Peter Fetterman Gallery
We have had the pleasure of working with Oszvald to print her ethereal images on our Black & White Fibre-based gloss paper. While preferring to be labelled as a visual artist, Noell Oszvald uses the photographic medium as the raw material through which she channels her emotions. Favouring black and white in order to avoid any distraction that may be created by colours, she strips her images to their bare essence. Her compositions rely on pure straight lines into which the subject fuses, hence rubbing off all hierarchy within the components. The resulting sobriety, reinforced by the choice of a square format, acts as a breeding ground to a complex melange of subtle feelings derived from her melancholy and loneliness. The reassuring perfection of these images acts as a robust armour to the highly sensitive Oszvald, who despite her young age, proves herself to be an accomplished artist.
Photo London runs from 16th-19th May 2019
Somerset House, Strand, London WC2R 1LA
PECKHAM 24 is a short festival of contemporary photography that takes in Copeland Park and Bussey Building place during Photo London week. For its fourth year, the festival is expanding, with additional exhibition spaces and a weekend programme packed with live events. The not-for-profit festival was created with the aim of a vibrant weekend of fringe events coinciding with Photo London and draw a crowd to experience the art scene in Peckham, South East London.
The 2019 artistic programme has been curated by Festival Directors Jo Dennis and Vivienne Gamble, and centres on the dual themes of collaboration and community. Highlights include:
– A special Friday night projection by Tom Hunter of his project Le Crowbar performed as a slideshow by the artist.
– Rehearsing the Real, a group exhibition curated by Tom Lovelace, where the central element will be a live collaborative work, bringing together artists within one creative space. The exhibition also features work by Thom Bridge, Sarah Howe, Steff Jamieson, and includes photography, film, performance and text.
– Photographic Memory by Baud Postma in Safehouse 2.
– Go Home Polish by Michal Iwanowski and curated by Vivienne Gamble.
– Violence Religion Injustice Death by Martin Seeds with Seen Fifteen Gallery.
– For Those Who Could See Beyond The Surface, a group exhibition curated by Emma Bowkett and featuring Alexander Mourant.
The festival programme for this year also includes new exciting partnerships with Photoworks and Webber Gallery.
Friday 17th May 6pm-1am
Saturday 18th May 12-6pm
Sunday 19th May 12-6pm
Location: Copeland Park and Bussey Building Access via 133 Rye Lane Peckham, SE15 3SN
This week visual artist Felicity Hammond launches her latest installation ‘World Capital’ at arebyte Gallery, London City.
Over the past few years, we’ve worked closely with Hammond via our Direct to Media service, producing her unique collage works on acrylic and phototex vinyl, enabling her to create large impactful sculptural prints and installations.
For ‘World Capital’ Conversations about the homogenisation of the built environment have taken many forms. From Walter Benjamin’s writings about the effect of capitalism on nineteenth century Paris, to Ian Nairn’s scathing review of the growing ubiquity of town planning, the crisis surrounding urban identity has been and will continue to be widely contested.
In World Capital the conversation turns towards the way that digital technologies have influenced the global image of the city. Offering a commentary on the role that the computer-generated architectural proposition plays in the increasing uniformity of the urban realm, the work outlines the ways in which the proliferation of the virtual world has contributed to urban indifference.
Combining images used to market contemporary housing alongside relics of the industrial past, the work collides local history with the global image that supersedes it. Re-imagining the Great Thames flood of 1928 which destroyed much of the site of the exhibition (now known as London City Island) World Capital recalls the area’s industrial and troublesome past, propelling its history into the near future.
In addition, World Capital is running an interactive programme of events alongside the exhibition:
– Panel discussion: Clare Melhuish, Monica Degen, Adam Brown and Felicity Hammond 10th May, 6.30 – 8.30pm
– Reading Group, 11th May, 4-6pm
– Walking Tour of Canning Town and the surrounding area, led by Debbie Kent 18th May, 1-3pm
arebyte Gallery, 7 Botanic Square, Canning Town, London, E14 0LG
April 30 – May 18th
This Spring, Standard Life presents Beyond the Invisible, an exhibition produced in collaboration with fashion photographer Rankin, telling the real-life stories of endometriosis sufferers and their supporters. In partnership with Endometriosis UK, Standard Life intends to shine a light on this invisible illness that affects 1 in 10 women.
With these portraits – and the campaign mission statement ‘It’s time to make this invisible condition visible to all’ – Rankin‘s objective was to show the pain, passion and uplifting beauty of these fearless women and their supporters.
”I didn’t know a huge amount about endometriosis until Standard Life approached me about collaborating on this project for their Invisible Illnesses campaign – I just couldn’t believe that one in ten women is living with this; the excruciating pain and the way it negatively affects basically every aspect of their lives. Their relationships, careers and finances suffer due to this sometimes-debilitating condition. I hope this exhibition can almost make tangible the invisible agony of endometriosis, which is so hard to understand if you are not affected.” – Rankin
Produced here in our London Lab on archival C-type Matt paper, each portrait in this series carries a hidden video which helps to tell the real-life stories of the women and men featured. To unlock the video content, scan each portrait using the ‘Beyond the Invisible AR’ app.
“Standard Life’s partnership with Endometriosis UK is the beginning of a ground-breaking Invisible Illnesses campaign. There will be more partnerships, more voices heard, more barriers broken down.” – Standard Life
The exhibition began in London in March before moving to Edinburgh earlier this month, and digitally thereafter on the site, head over to see for yourself www.beyondtheinvisible.co.uk.
You can download it by searching for ‘Beyond the Invisible AR’ on the iOS App Store or Google Play Store.
ALL IMAGES © RANKIN for Standard Life and Endometriosis UK.
March sees the launch of a major new photography exhibition by Magnum Photos at the Sainsbury Centre, Norwich. The Body Observed will include over 130 works from the 1930s to the present, including artists Eve Arnold, Olivia Arthur, Werner Bischof, Antoine d’Agata, Bieke Depoorter, Cristina García Rodero, Bruce Gilden, Philippe Halsman, Herbert List, Susan Meiselas, Miguel Rio Branco, Alessandra Sanguinetti, Alec Soth.
The exhibition will include archival prints and frames, plus new work printed by Metro Imaging, a mix of C-type, Fibre-based & Giclée prints, and finished with Bespoke Frames. The work explores how Magnum photographers have turned their lens to the human body, examining issues such as identity, intimacy, sexuality and ritual, to voyeurism and performance, amongst others.
The body has been a recurrent subject throughout the history of art, but the advent of photography offered new opportunities to engage with past modes of representation. Photography had the potential to mimic or subvert existing visual codes and the camera has been used to examine, categorise, scrutinise, and objectify the human form, establishing a new visual language.
The exhibition will include well-known images such as Eve Arnold’s portraits of Hollywood icon Joan Crawford, and Philippe Halsman’s Dalí Atomicus, a work selected for TIME magazine’s “100 Most Influential Images of All Time” in 2016. Also included are photographs by Alec Soth from his series Niagara – an exploration of melancholy love in one of America’s best-known honeymoon destinations -, images from Susan Meiselas’ celebrated Carnival Strippers series, and a selection of Ophelias: The Adventures of Guille and Belinda by Alessandra Sanguinetti, inspired by John Everett Millais’ classic painting.
A cooperative founded in 1947 by the photographers Henri Cartier-Bresson, Robert Capa, George Rodger and David ‘Chim’ Seymour, Magnum was initially established in New York but offices soon followed in London and Paris. They are now recognised as one of the best-known photo agencies, whose members include many of the world’s leading photographers.
The Body Observed will be curated by Monserrat Pis Marcos, curator at the Sainsbury Centre, in collaboration with Emily Graham, Cultural Commissions & Partnerships at Magnum Photos.
THE BODY OBSERVED: MAGNUM PHOTOS
23 March – 30 June 2019
Sainsbury Centre for Visual Arts
University of East Anglia
£13 | £12 concessions
50% off for under 18s, full-time students and Art Fund Members
FREE for Sainsbury Centre Members, UEA and NUA Student Members.
Image courtesy of Magnum Photos.
Introducing our newest Black & White Paper: HARMAN GDS FIBRE-BASED MATT, providing a flat-matt alternative to our signature fibre-based paper.
In response to the increasing demand, HARMAN has introduced a brand new silver gelatin, premium quality, matt finish, panchromatic photographic paper that not only replicates the qualities of their Fibre paper but is also receptive to hand colouring and chemical toning, making this hybrid product completely unique. Metro has been working closely with the company to test the paper in order to produce the best quality print possible.
“It has taken a number of years to develop the HARMAN GDS FB Matt paper and we are delighted by the results. Feedback from the market trials of the product has been spectacular so we are really excited about finally being able to get a product such as this out to our photo lab customers.”
Giles Branthwaite, HARMAN Sales & Marketing Director.
Formulated with the very latest B&W Silver Halide Emulsion technology, and optimised for digital exposure, the fibre-based matt delivers excellent contrast and sharpness with a neutral image tone. Allowing for superb and continuous B&W tones on both images and text, the gallery-quality results are equal to those seen with traditional B&W hand-printing but can be prepared from a variety of mediums, such as B&W or colour negatives, positives or prints.
The new HARMAN GDS Fibre-based paper stands alongside our original format at 310gsm but with a double-weight Baryta matt finish. Supplied on a 50″ (127cm) roll, we can produce prints up to 108 x 48″ (2744 x 1219cm).
We are excited to be working with cinematographer Afshin Shahidi on his first photography exhibition, launching this February, and documenting his intimate working relationship with the artist Prince. Our expert production team worked closely with Shahidi, producing a selection of his works as Fine Art Giclée prints on Hahnemühle Fine Art Baryta paper, and finished with Bespoke Wooden Frames.
The exhibition will feature rare and intimate images of Prince, primarily drawn from Shahidi’s recently published photo book, Prince: A Private View, which includes a foreword by Beyoncé Knowles-Carter. Illustrating Prince’s exceptional talent through his strenuous work ethic, enigmatic persona, unique charm, and sexual charisma, the limited edition prints on view convey the power of the late musician’s flamboyant and multi-instrumental performances. The qualities that made Prince a worldwide phenomenon are captured in striking still reflections by his colleague and friend, Afshin Shahidi.
Iranian-born Shahidi collaborated with Prince longer than almost any other photographer. He met the musician in their shared hometown of Minneapolis back in 1993, at Prince’s renowned recording studio, lyrically portrayed by the artist as “there aren’t any rules in Paisley Park”. Initially working as a cinematographer, Shahidi’s passion for creating still images was obvious to Prince, who, soon after, invited him to photograph his then band, the New Power Generation.
After a trial period, Prince asked Shahidi to become his official Stills Photographer. In this position, Shahidi captured Prince on stage and at play, both in highly styled settings and candid situations. He travelled with Prince from Panama, to Morocco, to London and beyond. The relationship between the two transitioned from professional peers to duelling conversationalists, to trusted companions. Ultimately, Shahidi’s unique access to the notoriously inaccessible Prince gave him the opportunity to create indelible images of the icon.
Shahidi hopes his photographs will give the public a renewed appreciation for the late performer and recalls of Prince:
“He became my mentor, business partner, travel companion, collaborator, and – most important – my friend. He took it upon himself to encourage me to see the world as a place of opportunities, not limitations. He taught by example. I knew I had to grow as a photographer, both technically and artistically – I had no choice. My subject was, unequivocally, the most talented musician of our time.”
The unique solo show produced in partnership with 2s.Prodcutions will be on show at Herrick Gallery for a limited time only this Spring.
27th February – 9th March 2019
London, W1J 7NQ
Opening times: 27th-28th February 11am-5pm / 1st-8th March 11am-7pm (Sundays 12-5pm)
IMAGE 1, IMAGE 2 © Afshin Shahidi
IMAGE 3 PRINCE – A London Private View: Afshin Shahidi ©2s Productions
Spring 2019 brings the unveiling of brand new work by Tracey Emin at White Cube, Bermondsey. Bringing together a collection of work, spanning the entire space, A Fortnight of Tears showcases Emin’s largest bronze sculptures, new photography, painting, and film. The exhibition chronicles the most recent developments in the artist’s practice, stemming from deeply personal memories and emotions ranging from loss, grief, longing, and spiritual love.
Metro Imaging is delighted to continue our longstanding relationship with Tracey Emin, producing over 60 large-scale Fine Art Giclée prints for the debut of her new photographic project, Insomnia. The images, printed on Hahnemühle Photo Rag, have been selected from thousands of self-portraits taken by the artist on her iPhone over the last couple of years, spontaneously capturing prolonged periods of restlessness and inner turmoil.
In addition to this, the major exhibition will include three monumental, bronze sculptures (Emin’s largest to date), shown alongside her lyrical and expressive paintings. Developed through a process of drawing, the paintings are then intensely reworked and added to, layer upon layer. Filmmaking has also been an integral part of Emin’s career for over 20 years. To mark this, the artist will show a new film, as well as the key early work How It Feels (1996), a candid and moving account of her abortions that changed her whole approach to making art.
6th February – 7th April 2019
White Cube Bermondsey
144 – 152 Bermondsey Street
London SE1 3TQ
Tuesday – Saturday, 10am – 6pm
Sunday, 12pm – 6pm
Tracey Emin, A Fornight of Tears – Insomnia Installation, 2019
© Tracey Emin.
An arboretum, in the general sense, is a botanical collection composed exclusively of trees. In this case, the group exhibition will present varied photography practices, including the exploration of lighting, film and digital processes, to produce a contemporary photographic arboretum at Lucy Bell Gallery, East Sussex. The installation aims to represent how our relationship with nature is constantly changing, offering a new position to evaluate our place within it.
Featured within the show is recent Chelsea College of Art graduate Zoe Sim. Since winning the 2018 Metro x Made in Arts London Portfolio Prize, Metro has had the pleasure of working consistently with Zoe, producing both new work and edition prints. Her unique style of imagery works incredibly well when printed on Fujiflex Crystal Archive Printing Paper, aka Supergloss. The digital infrared photography experiments with the over-saturation of treescapes into surreal pink worlds. When asked to explain her work, Zoe states:
“False-colour infrared photography has a dark history, as it was invented for war camouflage detection in the 1940s. However, the aesthetics of pink can trigger contradictory emotions because pink is associated with many politically charged stereotypes. I have found pink to be a challenging colour, it creates strong reactions and complicates artworks in a way no other colour can. My intention is to subvert pink’s usual position in the world and use infrared in a different context; I feel I am able to rediscover its abilities to be ambiguous by creating work that documents nature differently”.
Arboretum is a group exhibition, featuring work by Zoe Sim, Kirsten Reynolds, John Stezaker, Jean-Luc Brouard, Allan Grainger, Faith Powell, Melissa Moore, Ieuan Morris, and Kristof Szentgyorgyvary.
Exhibition Dates: 2nd February – 2nd March 2019
Private View: 15th February, 6-8pm
Lucy Bell Gallery
46 Norman Road, St Leonards on Sea
East Sussex, TN38 0EJ
Open Wednesday – Saturday 11am-4pm, or by appointment.
IMAGES © Zoe Sim
This February Free Range Awards return to The Truman Brewery with winning art and photography graduates presenting new work in a selection of diverse solo exhibitions. Three winners were hand-picked from the annual Free Range graduate shows, which showcase a new generation of cutting-edge talent from across the UK, to create new work that will go on display in their own solo exhibitions.
Continuing our dynamic relationship with the emerging-talent platform, we are excited to work with the individual artists and produce work for these engaging exhibitions.
Cole Flynn Quirke – A Bird Flies Backwards: A photographer from Brighton whose photographic process is primarily autobiographical. Cole experiments with moving image, sound and collage in his work, and prints all photographs by hand. Cole’s work was recently featured in the show Many & Beautiful Things at Newlyn Art Gallery & The Exchange in Penzance. For his new exhibition, A Bird Flies Backwards, Cole has chosen to explore and document his own views on existence – looking at life, death and understanding change following his grandmother’s death.
Polly Evans – No Man Is an Island: The London-based artist creates installations that use video, sound and spoken word to engage viewers with political and social problems in modern day Britain. No Man Is an Island is Polly’s first solo exhibition. It looks at the current economic and social landscape of our country and the detrimental impact the future may have on younger generations. Like the poem, No Man Is an Island by John Donne, it explores ideas of division and separation and asks the question; What is the future for a nation so divided?
Jasper Pedyo – Lost in the Sauce: The Zimbabwe-born fine artist was chosen by judges for his three large, painted constructions entitled Kisses, Hugs and Jo’Burg. Following his success at Free Range 2018, Jasper opened his first solo show The Expanded Field at 108 Fine Art, Harrogate, which was featured as the Financial Times’ Critics’ Choice. For his new exhibition, Lost in the Sauce, Jasper aims to blur the line between sculpture and painting – altering the shape of the canvas frame and presenting bold and contrasting colours that are free from brushstrokes and recognisable imagery
The FR Awards were launched in 2016 to continue the support of emerging artists and celebrate talent. The FR Awards provide winners with funding towards their own solo exhibitions at the Truman Brewery in February, alongside mentorship and press coverage in the lead up to their shows. Each year, three artists are selected from the two Photography and Fine Art weeks at the Free Range graduate shows by panels of industry experts and professionals within the arts, including curators, artists, journalists and gallerists.
7th – 14th February 2019. 4, 8 and 11 Dray Walk, The Truman Brewery, Brick Lane, London E1 6QR. PV Thurs 7 Feb RSVP (free entry)
IMAGES © A Bird Flies Backwards by Cole Flynn Quirke, No Man Is an Island by Polly Evans, and Lost In The Sauce by Jasper Pedyo
Internationally renowned artist Tom Hunter has collaborated with local taxi drivers from Hastings, East Sussex, in order to construct contemporary photographic documentation of the area, the intimate portraits referencing the Hastings Museum and Art Gallery’s current collection.
The taxi drivers, who represent the incredibly diverse community of Hastings, were invited to choose their favourite locations in the area and have their portraits taken at either dusk or dawn, aka ‘golden hour’ or ‘blue hour’. With this aesthetic, Hunter pays tribute to JMW Turner, and the many other artists that have worked there, inspired by the natural landscape and incredible light conditions. Along with the photographs, Tom collected the drivers’ verbal histories and reflections to be included as an additional audio component of the exhibition.
Tom Hunter, an artist predominantly working in large format film, shot the series on 5×4″ E6 sheet film. The carefully chosen edit was scanned at high resolution, then produced as Digital C-type Supergloss Prints by our expert printer John Cleur. The prints have been dry mounted to Aluminium Panels to be hung in Bespoke Frames.
“It is the use of light that ties the pictures together and brings a sense of belonging to the landscape.” – Tom Hunter
The exhibition has been curated by Lucy Bell and David Rhodes. Metro Imaging were pleased to support Tom, a long term client, in the commission, along with Arts Council England, Scott Mead, Hastings Borough Council, 247247 Taxis, Chalk Cliff Trust, and Lucy Bell Gallery.
Exhibition Dates: 9th of February until 9th June 2019
Hastings Museum and Art Gallery
John’s Place, Bohemia Road
Hastings, TN34 1ET
Admission is free.
For the full press release, and information on print sales, click here.
IMAGES © Tom Hunter
1. Ali – Rose Hill
Over the past six months Metro has been working closely with SATORI to offer visual artists the chance to access a tailored Mentorship Award, which will support them with professional development, career direction, and industry insight as well as a chance to have their work published.
The twelve-month programme is designed around the needs of the individual and includes creative and conceptual advice, professional and business development, marketing identity and PR, technical experience, plus networking introductions and opportunities.
Since applications closed in December 2018 the SATORI team have been reviewing each entry to the award in detail to create a shortlist ahead of a the final selection on Friday 11th Jan 2019. The selection panel includes members from SATORI, Metro Imaging and external industry influencers.
Below are the five shortlisted visual artists for this years SATORI x Metro Mentorship Award:
Gin Rimmington Jones
Congratulations to all who have been shortlisted, we look forward to announcing the winner via SATORI and Metro Imaging website and social media platforms later on Friday 18th Jan.
Created by renowned photographer Richard Ansett, this new portrait at the Fitzrovia Chapel focuses on Grayson Perry’s alter ego, Claire. ‘Claire is not a natural mother. This is a trans-immaculate conception and a perfect synergy with The Fitzrovia Chapel.’ said Ansett of his new work ‘Birth’.
The 60×40″ photographic portrait is produced onto Kodak Duratran, then reverse mounted on acrylic, by our expert printing and mounting technicians here at Metroprint, complete with a bespoke lightbox frame.
Artist Grayson Perry will unveil this ‘iconic and iconoclastic’ portrait of himself at the Fitzrovia Chapel at the end of January. A reworking of the motif of mother and child, this huge lightbox will illuminate the chapel from an impious placement on the altar. This piece of art installation showcases a balance between the influence of centuries of art history and religious symbolism with high-camp photographic parody, a vulgar appropriation for the 21st Century. ‘It’s like art.’ says Perry
Faye Hughes, Artistic Director, the esteemed Fitzrovia Chapel, said, ‘We are thrilled to be opening 2019 with the bright lights and glorious contradictions of Richard Ansett’s ‘Birth’. An artist photographing an artist dressed as a woman illuminating a secular chapel that’s dressed like a traditional church. Perfect.’
Exhibition: Fri 25 to Wed 30 Jan 2019, 11:00 – 16:00
Talks: 13:00, Sat 26 Jan and Tues 29 Jan 2019
Admin: Free (exhibition & talks)
Fitzrovia Chapel, London W1T 3BF
Fitzrovia Chapel Exhibition Room – veil over artwork (the portrait will be public from the 25th Jan)
This winter Somerset House presents Hanna Moon & Joyce Ng: English As A Second Language, a new photography exhibition celebrating the work of two of the most exciting photographers working in fashion today. This combined exhibition celebrates the vitality and importance of fresh perspectives within fashion photography in our globalised and interconnected world.
Employing an otherworldly and playful approach to their practice, Hanna Moon and Joyce Ng incorporate cultural signifiers, set design, and fashion to present their unique take on Western aesthetics and fashion ideals. Bringing distinct Asian perspectives to their work, they challenge the concept of ‘otherness’ and reflect upon the power fashion photography holds in shaping our perceptions of beauty, style, and taste.
Curated by Shonagh Marshall, the exhibition explores the artists’ feelings of being ‘lost in translation’, a feeling which; as artists living in a foreign city, navigating different languages and shifting landscapes, informs Moon and Ng’s search for capturing beauty in the often overlooked and unseen narratives in our everyday lives.
For English as a Second Language
, Metroprint has worked with the artists and curators to produce a selection of the works as archival digital C-type prints
which were then mounted to aluminium
. Moon and Ng have created two new series of photography works, responding directly to the historical setting of Somerset House.
The exhibition also invites you to explore works from Moon and Ng’s fashion photography archive over the past four years, featuring work from leading publications such as Dazed, i-D, Modern Weekly, Centrefold, Re-Edition, M Le Magazine du Monde, Modern Matter, 1 Granary and David Casavant Archive Book.
1 Joyce Ng, In Her Five Elements: Karen Guan Yin is just catching a breath under The Mountain of Five Fingers, 2018
This January 1 GRANARY will launch VOID at the British Fashion Council showspace during London Fashion Week Mens 2019. Metroprint was excited to work with the collective to produce archival digital c-type prints all mounted to Kapa board ahead of this highly anticipated exhibition.
Established in 2012,1 Granary is a London-based, global network aimed at young fashion designers and creatives. Through its print magazine, website, educational workshops and events, the platform unites and connects the prominent with the promising.
Uniting the boundless imagination of the emerging and creative expertise of the established, 1 Granary’s VOID invited prominent creative directors and their teams to interpret the work of six independent designers. The photography series and video installations, to be exhibited at the BFC showspace during London Fashion Week Men’s, aim to celebrate alternative ways of fashion promotion and invite the industry to rethink its hierarchical structures.
VOID welcomed three new designers (Sinead O’Dwyer, 419 Collective and Rebecca Jeffs), alongside three designers from the previous edition (Charlotte Knowles, Chopova Lowena and Gabriele Skucas). In addition to being exhibited at the BFC showspace, the editorials are featured in uniquely designed zines, which will be bound and released in an exclusive VOID | vol.1 publication, available for purchase on site.
The collective exhibition runs from 5–6 January (Opening 5 January at 8:30) at BFC showspace, Truman Brewery, F Block G4 entrance, Ely’s Yard, 15 Hanbury Street, London E1 6QR. RSVP to firstname.lastname@example.org
© Image by Harley Weir
We have a wide variety of papers on offer here at Metro Imaging from Digital C-Type, Fine Art Giclée or Genuine Black & White…
Our C-Type papers are perfect for exhibition printing and the ideal ‘all rounder’ paper type. All our prints are produced on laser printers, giving optimum results for your images for colour accuracy, light fastness and archival quality. Our digital c-type papers range from classic photographic finishes such as matt and gloss to speciality papers like Velvet, Metallic, Duratran and Supergloss.
Supergloss / Fujiflex
Ranging from Canson and Somerset to Hahnemühle papers, our Giclée papers create the perfect finish to any fine art print. These smooth and textured papers give warmth to colour prints and tonal depth to black and white prints.
Metro is the only lab in the UK where you can order true black and white prints. If you want a colour cast free, genuine black and white print then our fibre based or resin coated paper is for you.
Recently Sølve Sundsbø’s work – as curated by Alessia Glaviano and Michael Van Horne – was exhibited as part of Milan’s Photo Vogue festival.
Staged in the evocative galleries of the Prince’s Apartment at Palazzo Reale, Beyond the Still Image is the first museum exhibition to explore the unique vision of celebrated fashion photographer and filmmaker, Sølve Sundsbø. An immersive sequence of iconic and previously unseen photographs, videos and site-specific installations invites viewers to deepen their understanding of Sundsbø’s distinctive practice; one that is defined by cutting-edge technology and bold challenges to the two-dimensional nature of photography.
Metroprint’s technicians worked closely with Sundsbø Studios to produce a selection of images on Supergloss as well as true Black and white fibre prints to be included in this inspirational exhibition.
You can read more about Sølve Sundsbø and this iconic exhibition “Beyond the still image” here
IMG © Sølve Sundsbø.
This summer Hospital Rooms launched a new project at Bluebell Lodge, an inpatient mental health rehabilitation unit for men. Part of Central & North West London NHS Foundation Trust, Bluebell Lodge provides long-term care and support for people who have complex mental health needs, which in many cases previous placements have been unable to meet. The average stay of residents is between 6 and 18 months, during which time they are supported to develop the necessary skills for independent living – both practical and in relation to personal mental health management and well-being.
Six artists –Rachael Champion, Tim A Shaw, Mark Titchner, Steve Macleod, Bob and Roberta Smith and Anna Barriball– were commissioned to make highly inventive, compelling and NHS compliant artistic environments for the unit, in partnership with mental health service users, carers and mental health professionals.
Landscape photographer, creative director at Metroprint and art educator Steve Macleod is no stranger to Hospital Rooms. Having worked with the art organisation on their very first project at Phoenix Unit psychiatric rehab in Springfield University Hospital, Steve has since produced work for the organisation in a manner of forms.
Steve Macleod spent time wandering around a local meadow photographing plant shadows to create this unique image, which is the basis for both his Bluebell Lodge artworks. His artworks for the Gym and the stairwell were both influenced by a cyanotype workshop he led for residents on a baking hot summer’s day back in July. Cyanotype is a camera-less photographic printing process that produces a cyan-blue print and is made using a surface treated with photosensitive chemicals which is then exposed to light.
In addition, he has created a limited edition print of his serene installation at Bluebell Lodge. The print will be available at Hospital rooms exhibition on Wednesday 5th December, 6-8pm, at Unit1 Gallery and on their website from the 6th Dec.
You can read more about the cyanotype process, find out about Steve’s workshop and see more of the work created by participants in an earlier blog post: Bluebell Blueprints – chemistry, sunlight and creativity.
This autumn, Tate Britain will open a group of new free displays as part of its ongoing Spotlights programme, including the unveiling of a major new installation, titled Lead White, by Zarina Bhimji, and Metroprint was lucky enough to work on the production of a number of prints for the exhibition.
The debut presentation of this new installation by internationally renowned artist Zarina Bhimji consists of over 100 unframed photographs and multiple embroideries. Lead White is a profound meditation on power and beauty. It is the culmination of a decade-long investigation conducted over multiple continents, delving into national archives to capture details of words, lines, stamps and embossing. Bhimji creates poetic narratives by editing and repeating these details as if constructing a musical composition. The work also combines digital and physical crafts – including the use of embroidery for the first time in Bhimji’s practice – drawing attention to textures and traces, light and shadow.
Zarina Bhimji was born in Uganda and lives and works in London. She was nominated for the Turner Prize in 2007, exhibited at Documenta 11 in 2002, and is represented in numerous public collections including Tate, the Museum of Contemporary Art in Chicago and Moderna Museet in Stockholm. Lead White has been commissioned by Sharjah Art Foundation and supported by Arts Council England.
Bhimji says her work is about beauty and issues that are personal and universal. She likens her process to a forensic investigator, looking at records of treaties signed and territories mapped, searching for evidence of what crimes could have been carried out.
19 NOV 2018 – 2 JUN 2019, 10am. – 6pm.
Tate Britain, main floor
Millbank, London SW1P 4RG
All Images by © Zarina Bhimji
On 14 December 1918 women in the United Kingdom voted for the first time, and in the same year the first female MP was elected. Launching 14 December 2018, 209 Women marks that significant moment in history, whilst also highlighting the ongoing need for further gender equality across society and politics. Metroprint is delighted to be collaborating with this landmark project and its dedicated photographers.
As an all-female photography initiative, portraits of all 209 women MPs have been exclusively shot by women artists. These images will be displayed in a free, public exhibition opening on 14 December — 100 years to the day that the first women cast their votes in the 1918 UK general election. The photographs will be displayed firstly at Portcullis House, Houses of Parliament, before travelling North to Open Eye Gallery in Liverpool in the New Year.
Metro is honoured to support and work with the team- including Hilary Wood , Cheryl Newman, Tracy Marshall and Lisa Tse – behind 209 Women in producing high-end, archival prints, expertly finished in Box Frames for their inaugural exhibition.
“The idea for the exhibition came from my own experiences of gender inequality. I’ve worked mainly in male-dominated fields for the past 18 years. I’ve got two daughters and I wanted to be part of changing things so that they grow up in a society that is more gender equal. Since 1918, 4,503 men have been elected to the UK parliament – compared to just 491 women. On the centenary year of women’s suffrage, I wanted to celebrate how far we’ve come, but I also want to bring awareness to continued gender inequality by championing the visibility of women in power. This exhibition will bring visibility to those women that are part of making the fundamental changes to women’s equality.” – Hilary Wood, Founder and Curator.
Although the Suffrage Movement achieved the first votes for women, there is still a long way to go to cement a culture of true gender equality across all spheres of society in the UK, particularly in positions of power. Women MPs only form 32% of the House of Commons.
The project began as a voluntary endeavour, but the team has been working closely with Open Eye Gallery to secure fees for the artists. The initial crowdfunder to raise support for the artists ran over summer 2018, and now the team is welcoming individual exhibition patrons, limited to 209 places.
The exhibition will hang in Portcullis House, Westminster from 14th December 2018 until February 2019.
From February 2019 it will travel to Open Eye Gallery, to be exhibited in partnership with Culture Liverpool.
1 Tulip Siddiq MP, photographed by Jillian Edelstein
Metro Imaging is proud to continue it’s ongoing partnership and support for Portrait Salon 2018. This year, the eighth edition of Portrait Salon will not only be showcasing a selection of rejected work from the Taylor Wessing Photographic Portrait Prize but will also include rejections from The British Journal of Photography’s Portrait of Britain competition.
Portrait Salon aims to question the place of competitions within the photographic industry, and their role in determining current trends. By accepting these rejected submissions, the intention is to show that there is top quality photography not getting the exposure it deserves.
For this year’s competition, there were no judges: the final selection for Portrait Salon 2018 was completely made by the public. After the submission deadline on September 14th 2018, all entries were available to see via the Portrait Salon website, allowing two weeks for the public to vote for their preferred image. The ones with the most votes would win the chance to be part of the Portrait Salon 2018 exhibition. Over 15,000 votes were placed, with a final selection of 52 portraits. You can read how Tom Hole at Stirtingalecrunched the numbers here.
The selected 52 portraits will be projected in the exhibition at Peckham Levels, with a clear indication of which images have been rejected from the Taylor Wessing Prize and which from Portrait of Britain. Accompanying this will be a very special publication designed by Stanley James Press.
27th November, 6.30 to 10.30pm.
Level 5, Peckham Levels
Peckham Town Centre Car Park
95A Rye Lane
London, SE15 4ST.
This autumn, Somerset House presents GOOD GRIEF, CHARLIE BROWN! Celebrating Snoopy and the Enduring Power of Peanuts,and Metroprint was very proud to have taken part in the production of this show, printing a series of large Duratrans for lightboxes looking astonishing at the entrance of the exhibition room.
GOOD GRIEF, CHARLIE BROWN! Celebrating Snoopy and the Enduring Power of Peanuts is curated by Somerset House’s Senior Curator Claire Catterall, and in partnership with the Charles M. Schulz Museum and Research Center, brings together the original drawings of the cartoon’s creator Charles M. Schulz with work from a wide range of acclaimed contemporary artists and designers who have been inspired by this highly influential and much-loved cartoon.
The exhibition features over 100 comic strips and personal artefacts from the Schulz Museum and works from contributors including: Andy Holden, David Musgrave, Fiona Banner, François Curlet, KAWS, Ken Kagami, Lucas Price, Mark Drew, Mark Mulroney, Mel Brimfield, Mira Calix, Ryan Gander and Steven Claydon; and unpacks the panels that tackle topics such as feminism, faith, racial equality and existentialism, standing as a testament to the power of popular arts.
Accompanying the exhibition is a rich programme of events and learning opportunities for all ages, as well as a beautifully illustrated exhibition catalogue featuring all the fascinating stories from the show.
25 Oct 2018 – 03 Mar 2019
£14.00 / £11.00 concessions, Under 12s free
Embankment Galleries, South Wing
Strand, London WC2R 1LA
Copyright Peanuts World LLC
The work is by Friends With You and is part of the broader exhibition Good Friend, Charlie Brown.
Image credits: Good Grief, Charlie Brown! Celebrating Snoopy and the Enduring Power of Peanuts at Somerset House © Tim Bowditch courtesy Somerset House
Metroprint was delighted to work with Maisie Cousins to produce archival C-Type Prints ahead her solo show selected to launch Elephant Magazine’s first physical art space, Elephant West.
Known for her bright, colourful and playful style, this newly commissioned series will explore the joy and ceremony of eating.
“Dipping Sauce” will reveal large scale, hyper-saturated macro imagery of food, plants and nostalgic objects related to eating, to create a truly immersive environment. Her work carries complex layers of messages, often placing the audience uncomfortably up-close to her work and treading a carefully balanced line between the beautiful and the disgusting.
“I’m interested in our current obsession with food in the western world. Everyone takes pictures, whether their food is delicious or naughty, horrible or bleak. I spend a lot of time on Instagram looking a people’s depressing dinners – I find something honest and funny about them. This project is an amalgamation of all the things that I find charming and funny about food.” says Cousins of the work that will be exhibited.
This will be the first time that Maisie’s work has been shown at such a grand scale. With some images enlarged to create wallpaper-style backdrops for smaller images on lightboxes, and some displayed at five times their usual size, the installation immerses the audience into the sticky, sweet and gunky world of Maisie’s visual playground. At a time when consumers are beginning to question the provenance of the food they buy, and at the same time are able to procure almost anything they want via enormous global supply chain networks, Maisie confronts us with the reality of our gluttony and desire. At once seductive and repulsive, these heavily charged images both celebrate and question the human relationship to food, bringing in elements of childhood nostalgia and sensorial references to emphasise the link between memory and eating. It’s not always clear what the elements of the images are, and Maisie uses this ambiguity to seduce the viewer, creating moments of surprise, delight and horror in equal measure.
Becca Pelly-Fry, Head Curator at Elephant West, believes Cousins to be the perfect collaborator for the opening of Elephant West, commenting:
“Maisie was brought up in West London, and it felt important for our first project to be connected to the local area, showcasing the inherent creativity of West London. Maisie is at a critical point in her career; this opening commission for Elephant West captures her on the point of really blossoming as an artist. “
‘Dipping Sauce’ will be interspersed with talks, workshops and other special events and will run from 10 November to 2 December 2018.
Metroprint are pleased to have printed work for the presentation of Destinerrance, an exhibition by Edgar Martins at Purdy Hicks Gallery.
Both large- and small-scale Digital C-Type Matt Prints were produced for the show, comprising of previously unseen works from Martins’ most recent projects: Siloquies and Soliloquies on Death, Life and Other Interludes (2016-17), and What Photography has in Common with an Empty Vase (2018).
Martins uses photography to develop a philosophical, quasi-scientific investigation, examining various minimalist concepts of the contemporary urban landscape. Moving between the factual and fictional, between the concrete and the metaphorical, the artist operates within a landscape of uncertainty, permanent flux, transition and opposition. Destinerrance is themed on the object of the letter as a medium of documentation, visibility, and absence, represented here through abstraction, association, with collages and investigative still lives.
Destinerrance is a term proposed by the French philosopher Jacques Derrida in his seminal book La Carte Postale. According to the author, Destinerrance combines notions of destination and destiny with error or errancy. The images included in this exhibition tap into Derrida’s conception of Destinerrance; the work explores the philosophical concept of absence and addresses a broader consideration of the status of the photograph when questions of visibility and documentation overlap.
From a humanist perspective, the work seeks to reflect on how one deals with the absence of a loved one, brought on by enforced separation. From an ontological perspective it seeks answers to the following questions: how does one represent a subject that eludes visualization, that is absent or hidden from view? How does photography address the politics of visibility in an era that privileges transparency but is also sceptical of fact? And what does it mean for photography, in an epistemological, ontological, aesthetic and ethical sense, if it does not identify with the referent but the absence of the referent?
Exhibition dates: 12 October – 10 November 2018
Opening Times: Mon – Fri 10am – 6pm & Sat 11am – 6pm
Purdy Hicks Gallery
25 Thurloe Street
London, SW7 2LQ
Information © Purdy Hicks Gallery Press Release
Rothko’s death changed everything Dead man tell no tales, 2017
As main partners and official print sponsors of Brighton Photo Fringe 2018, Metroprint were delighted to be invited to present a show as part of the festival, showcasing a mix of artwork from our talented members of staff, as well as a selection our Metro Imaging Mentorship winners.
In 2005 Metro Imaging established a Mentorship platform to support photographers and graduates making the transition out of education or a self-taught background. The programme has gone on to be highly regarded in the industry as a vital stepping-stone into the creative industries, with notable mentees such as Felicity Hammond, Carl Bigmore, and Alexander Mourant.
This year, Metro invited LCC graduates Sophie Hambling & Shahram Saadat to curate the exhibition of Mentors & Mentees. Artefact is a mixed collection of work by current Mentorship Winners: Polly Evans, Emily Marshall, Cole Quirke, Scarlett Platel, Zoë Sim, and Nathaniel White, along with pieces by Metro’s own team: David Brazier, Nick Holyman, Patrick Kelly, Vanessa Short and Ciarán Woolcombe, all of which will be on show throughout the festival at Phoenix Brighton.
The varied group exhibition includes a mix of media, such as Black & White Hand Prints, Digital C-type printing on a range of papers, moving image, collage, Photogravures, and Bespoke Mounting & Framing.
29 September–27 October
BPF18 Collectives’ & Youth Hub
10-14 Waterloo Place
Brighton, BN2 9NB
- Exhibition artwork designed by Sophie Hambling & Shahram Saadat.