Charles March will launch his new book Gleann Badraig at Tristan Hoare Gallery on 20 November 2018. The book, published by Distanz, presents a new body of work taken on the remote Scottish island of Jura, accompanied by specially-commissioned poetry by the well-known Scottish poet, Ken Cockburn.
A selection of the works will be on show to the public on 21 and 22 November 2018 at Tristan Hoare.
BOOK LAUNCH, LONDON
21 – 22 November 2018
6 Fitzroy Square
Galleria del Cembalo in Rome presented an exhibition of photographs by Charles March.
The exhibition brought together highlights from March’s recent exhibitions in St Petersburg, Moscow, New York, Los Angeles and London, as well as a completely new body of work taken on the remote Scottish island of Jura.
SEASCAPE presents a new body of work by Charles March of one short stretch of the Atlantic coast off the island of Eleuthera.
“There is great variety in this set of Charles March pictures. They are never entirely abstract: one perceives clearly what is land and what is water. Sometimes the sea seems very benign; sometimes it threatens, like a towering wall about to crash down upon us. Some pictures seem as if glimpsed from the window of a bullet train, the sun glinting off the surface. Disconcerting are one or two pictures with tilted horizons, upsetting our most cherished notions of the earth’s fundamental order.’ William Ewing
ABSTRACT & INTENTIONAL
Abstract & Intentional presents photographs taken in Russia in January 2014 while Charles March was exhibiting Nature Translated at the State Russian Museum (Marble Palace), St Petersburg.
“The resulting pictures, printed to a dramatic size that irresistibly draws your attention, inspire the imagination and transform the specific into the symbolic and evocative; these pictures confound the popular expectation that a photograph must represent a precise moment in time.” Philippe Garner, who was with March in Russia.
He continues, “Instead, they convey a sense of extended experience – of a passage through time, a dream sequence of blurred effects from an impressionistic movie.”
The WOOD LAND exhibition follows Nature Translated, March’s critically-acclaimed solo show, which was curated by Edward Lucie-Smith and exhibited at Bermondsey Project Space in London (2012), the State Russian Museum (Marble Palace) in St. Petersburg (2014), and the Moscow Photography Biennale 2014.
The swirling, abstracted photographs in WOOD LAND mark a continuation of the themes and styles established with Nature Translated.
“In terms of style, this group of photographs has moved on, and loosened the bonds with the idea of direct representation. Nevertheless, at some half-hidden level, the power of nature still resonates within them. They evoke the times when you step into a landscape, and it makes you hold your breath.This reverence for nature is one of the things that British and American cultures have in common”. Edward Lucie-Smith
As March says, “I have always tried to do something to get myself between the camera and the subject – adding an emotional mystery, a personal interpretation of a feeling for a landscape or a place. These pictures offer an image of a sensibility at grips with the real, where nothing is as yet completely concluded and everything is still in motion.”
Nature Translated was Charles March’s first solo show using a digital camera. Curated by Edward Lucie-Smith, it was exhibited at the Bermondsey Project Space in London (2012), the State Russian Museum (Marble Palace) in St. Petersburg (2014), and the Moscow Photography Biennale 2014.
‘Charles March’s photographs of trees are seldom or never meticulously detailed, in a way that we still tend to describe as ‘photographic’. Instead they seem astonishingly free, with the kind of rapidity and sketchiness that we feel is appropriate to drawings – even more so perhaps to the wilder kind of classical Chinese ink-painting.’ Edward Lucie-Smith, Curator
25 May – 17 June 2012
Bermondsey Project Space,
46 Willow Walk,
London, SE1 5SF