Bengaluru-based artist Dimpy Menon’s bronze sculptures at Gallery Art Positive in Delhi celebrate life through graceful athletic figures and universal body language.
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Edward Burtynsky on climate, abstraction, and hanging photos like paintings
The Canadian artist has captured our scars on the planet for over four decades. His largest ever show is a rallying cry with multiple voices
Edward Burtynsky is standing in front of the most ambitious and labour-intensive photograph he has ever made. It is a blanket of golf-ball sized orbs and growths in pink, orange, green and brown, unfurling across an entire wall in London’s Saatchi Gallery.
Pengah Wall #1 is an underwater photograph – or rather, a digital image composed of around 200 individual shots – made off the coast of Komodo Island in Indonesia in 2017. Burtynsky stands back slightly and admires the coral, its fleshy, sprouting texture lending a sense of alien vitality. He mentions the work of painter Jackson Pollock; the idea was to emulate the motion and energy of his canvases in the image. “Abstract Expressionism was one of the things I loved in 20th-century art,” the Canadian photographer says. “That there is no singular central point in the images, and their all-overness, texture and modulation – the whole surface has been considered.”
In terms of production cost, the reef image dwarfs anything else that Burtynsky has made. Six photographers and six professional divers ventured to a depth of 60 feet to divide the coral into a grid; they then moved slowly up and down making photographs of the shifting seabed, returning intermittently to a boat with a 30-strong crew to examine their pictures on screen. The swirling currents presented a challenge, as did needing to illuminate the reef manually. A Photoshop expert then worked for three months to stitch the final image together, meticulously selecting when to splice and blend each tendril to create a smooth, almost one-to-one scale composition. “It’s speaking to biodiversity on a level that is almost hard to comprehend,” Burtynsky reflects.
The extent of human extraction and infrastructure, and their impact on the planet has been Burtynsky’s subject for over four decades. As a first-year student at Ryerson (now Toronto Metropolitan University), he was tasked to ‘go out and find evidence of man’, sparking a curiosity in the environment which picked up pace in the early 1980s, when he stumbled across an enormous mine while wandering around Pennsylvania. He has since made pictures of industrial ingenuity – and fallout – across North America, Russia, Kenya, Iceland, Saudi Arabia, Australia and scores of other countries. Extraction / Abstraction is his largest show to-date, featuring 94 large-format images, the immersive mural work In the Wake of Progress, an augmented reality piece (which Burtynsky calls “photography 3.0”) and a display of equipment and shoot ephemera.
The extraction theme in Burtynsky’s work is clear, but what about abstraction? He continues to draw parallels with the New York School, and their “treatment of the whole surface as active and the compression of space” which led the photographer to start viewing his own images as canvases. Conversations with longtime friend and Extraction / Abstraction curator Marc Mayer led to a unique approach at the Saatchi, in which Burtynsky’s images are grouped according to harmonies in colour, texture and visual language rather than series or location. “These first three rooms are almost as if you’re going through a painting show,” Burtynsky says. And the 60 by 80 inch prints “allow you to have more of a bodily experience of the work. The smaller it gets the more cerebral it gets – here you’re enveloped in the space.”
Burtynsky’s projects like Quarries, Water, Oil, Salt Pans and African Studies often comprise pictures from across several locations or, like China, rove around a region and feature several industries, from chicken processing to shipbuilding. The photographs hang in mixed series at the Saatchi, farmland in Spain and Ethiopia alongside Turkish lakes and Mexican irrigation systems. Themed groupings return later in the show, with the rooms titled Agriculture, Extraction, Manufacturing, Infrastructure and Waste. Burtynsky has said in the past that he works in “arcs” or “buckets where I can fit different ideas”. This means that broad topics such as ‘Water’ can be explored in “poetic and interpretative” ways without striving for exhaustive documentation. Here the arcs coalesce, mixing and matching across the globe to dizzying effect – a true representation of the multiplicity of our ecological impact.
One of the aims of Extraction / Abstraction is to create a kind of disorientation – to defamiliarise Burtynsky’s subject matter by transcending geographic and thematic contexts in favour of aesthetics. He wants there to be a sense of “Where am I?” and “What am I looking at?” in the opening galleries, he explains. This is rare in photography, where the first questions asked of a work tend to be “What is it?” and “Where and when was it taken?” The approach puts more emphasis on tone, texture, lighting, and perspective. There is an irony in the fact that curating images like paintings prompts technical questions about photo composition, even while Burtynsky’s longstanding interest in the surreal and the sublime linger in shots of mines, quarries and hundreds of acres of farmland.
Small tiles of wall text give viewers context on each image, though Burtynsky easily recalls the location and story behind each shot as he guides me through the show. He approaches Thjorsá River #1, Southern Region, Iceland, 2012, an aerial survey of silt formations along the country’s longest river. It’s a rich, inky work which looks part-nautical, part-astronomical – perhaps even computer generated. “This is a river Delta where the glacial run-off is braiding on the final stages of the delta before it exits out into the ocean,” Burtynsky says. “So you get a lot of glacial till that’s in the water so it gives you that opacity… those beautiful opaque tones.” The image is particularly beguiling, with light grey blotches iterated across the print like a painterly motif.
The impulse towards abstraction is clear in Burtynsky’s description – the blurring of the physical landscape’s aesthetic properties with those of the photograph itself. Because of the location’s remoteness and the uniqueness of Burtynsky’s aerial vantage point, describing the image and subject as one makes sense. It is likely that viewers will never see many of Burtynsyk’s natural phenomena for themselves, and with climate breakdown changing the landscape irrevocably, there is an elegiac quality to a show which also asks fundamental questions about photography’s commemorative role.
“We’re in challenging times… It’s tragic that planetary health is becoming a political football”
We continue around the Saatchi, traversing the globe through pictures. Erosion Control #11, Burdur, Burdur Province, Türkiye, 2022 shows human footprints breaking through white salt flats, leaving hundreds of black dots. Burtynsky didn’t quite know what he was seeing from the plane above, he tells me, comparing the landscape to “stretched fish or eel skin”. Again his desire to defamiliarise the landscape into something abstract or bodily is clear.
Lagos is a place of particular fascination. A 2016 photograph shows illegally logged timber floating across down the Makoko lagoon, soon to be exported or driven into the silt to continue the floating settlement’s expansion. The deforestation is devastating, but Burtynsky marvels at the ingenuity required to serve Lagos’ rapidly growing population (which could reach 25 million by 2035). “The whole world has recreated itself on these stilts,” he says. It is a prime example of his work’s latent ambiguity, where environmental destruction sits alongside – and is often indivisible from – the infrastructure needed to sustain our current way of life.
The climate crisis is an inevitable topic on which Burtynsky is often probed. (He recently took part in a climate-themed event with former governor of the Bank of England, Mark Carney). It is striking that his image-making has spanned the most intense period of climate awareness, from tentative warning signs to a wailing, terrifying alarm bell. In 2013, he said that “I don’t see myself as a card-carrying activist at all, but I do see myself as an advocate or a concerned citizen for sustainability.” What does he think now?
“We’re in challenging times,” Burtynsky says with a laugh of acknowledged understatement. “God forbid the wrong politician gets in in America, let’s say, and all of a sudden it’s free for all again. It’s tragic that planetary health is becoming a political football.”
But there is hope in his recent work. Pengah Wall #1 is part of Anthropocene, a roving project which aims to progress the environmental debate “by being revelatory and not accusatory”. Nairobi landfill sits alongside thousands of flood-damaged cars in Texas, slum roofs in Mumbai and the lush vegetation of Vancouver island in work which spans a documentary film and an interactive website. “It is about ending on hope – the fact that we still have biodiversity with us,” Burtynsky says.
There is also an eye on the future. The augmented reality project allows visitors to view a rusted car engine from Accra and other scrap objects in rich detail. The equipment display – Phase One and Hasselblad cameras, 3D printed elephant tusks, a range of gimbals and camera stabilisers – points to a love for pushing the boundaries of image-making, as do Burtynsky’s anecdotes about shooting from helicopters and Cessna planes. His photographs may have made the world smaller, showing destinations that viewers might never have previously imagined, but he appears intent on demystifying each composition, despite the reverence for the elliptical world of abstraction.
It is this genuine fascination with the natural and industrial worlds which seems to drive him forward. Burtynsky marvels at the 250km of access shafts drilled into the banks of the Yangtze river to create the Xiluodu Dam; at the Huajian Shoe Factory in Ethiopia; at the order and visual coherence of the Spirit AeroSystems factory in Kansas. “I don’t approach my image-making as conventional documentary, saying ‘I’m going to take you through a tour of how people make salt in twenty images’,” he explains. “I’m interested in the picture, in the landscape and how it’s transformed – the human imprint in that landscape.”
Google Store Artist Angelica Trimble-Yanu
Google chooses work by the Oakland native for its new store.
New York Fashion Photographer Ziqi Xu: Capturing the Delicate Balance of Life Through the Lens
Photo: Ziqi Xu. Designer: Maŕa Peralta.
Designer brands Maŕa Peralta and Unisecon have frequently appeared in fashion media, thanks to the impactful photography of Ziqi Xu. Mastering the skill of using the lens to capture the natural connection between models and designer clothes has been the focal point of Ziqi Xu’s career. Over her many years of photography practice, Xu has gradually developed her unique style, exploring a series of photographs with distinctive themes.
Born in Chongqing, China, Ziqi Xu’s works often portray the wonderful relationship between humans, animals, and nature. Through her photography, Xu captures casual interactions in life, such as the gazes between people and pets, the coexistence of wild animals with their natural habitats, and the growth of plants in various environments. These fleeting moments, though brief, express the delicate balance between life forms.
For Ziqi Xu, creating photographic works serves not only to express her aesthetic and artistic ideas but also to convey the importance of maintaining balance in nature, as well as the awe and responsibility we have for every life form. Her works aim to lead the audience to experience the wonderful relationships in which every life form connects and relies on each other in different ways.
Recently, Xu captured a series of alien-themed photography works that convey her exploration and contemplation about the relationship between life, incorporating interesting story backgrounds and shooting techniques. This work revolves around an alien who arrives on Earth, driven by curiosity and a desire to explore a new environment. While attempting to adapt to the unfamiliar surroundings, the alien also aspires to carve out a new identity for itself in this foreign land—as a singer. Within this narrative, themes of ambition and exploration are conveyed. As a new life form encounters a strange world, it grapples with the challenges of adaptation while naturally showcasing its inherent peculiarity and sense of humor.
The style of this series remains consistent with, yet distinct from, Ziqi Xu’s usual methods. She creates a vivid, surreal atmosphere using vibrant colors and flashes of light, giving each scene a dreamy hue and lending an unreal quality to the viewer’s experience. This emphasizes the efforts and sincerity of the aliens in this strange environment, as well as the contrasting nature of the weird world in which they live. This collection of alien-themed works holds special significance, whimsically but profoundly reflecting the journey people undertake when chasing their dreams and venturing into unknown territories. It also serves as a reflection of the inner contemplations experienced by individuals who feel out of place in their environment yet strive to find a sense of belonging.
Harper’s Bazaar Vietnam
At Frieze L.A., Get Ready to Be Soothed by Flowers, Still Lifes, Ceramics
In times of uncertainty, artists have historically returned to conservative forms of art-making—“the holy trinity of portrait, still life, and landscape,” London-based advisor Brandy Carstens recently told me. For example, following the traumatic upheaval of World War I, the likes of Picasso, Léger, and de Chirico momentarily retreated from the avant-garde into the comforts of familiarity. “After making radical work,” Carstens explained, “all of a sudden they were painting orderly classical figures.” Today, the art world is showing similar signs of distress, if the dominant market trends heading into the next edition of Frieze L.A. are any sign.
With the stresses of the sales slumps and inflation spikes of the last year, the mood is risk-averse, and dealers have shied away from works that might bring current politics or polarizing topics into the booth, instead gravitating toward reliably soothing, topically-neutral imagery of flowers, trees, and more flowers.
Below is a brief guide on where these trends can be found at Frieze L.A.—which, to be clear, is an indicator of what kinds of works are being presented on the market, and not necessarily what subjects artists have suddenly started making or pursuing. The two, however, often coincide.
Landscapes and Nature Scenes
This year, “landscapes are the new figuration,” says L.A. collector Laurie Ziegler. Figurative paintings are still very much being produced, but for galleries in L.A. and well beyond, the bucolic escapism of dreamy sunsets, rolling hillsides and lush gardens has the art world in a chokehold. Artists not typically associated with nature and flowers have added them to their visual repertoire, including Doron Langberg at Victoria Miro in Venice, Wanda Koop at Night Gallery in LA, and recent shows of Jordan Casteel at Casey Kaplan in New York.
Casteel, an artist celebrated for her emotive portraits of quotidian Black life in New York City, began painting floral landscapes around the time she moved to upstate New York in 2021. Both types of work appear in Kaplan’s solo booth at Frieze LA, showcasing a new phase of Casteel’s practice undoubtedly shaped by her pastoral settings. These newer works are overall less bustling, less focused on the material details of the backdrop than atmospheric ones; background objects are abstracted, cropped, or unfinished, while light is more present, robust and pronounced. Mid- to large-scale pieces start around $300,000.
Similarly, in a solo booth by Stephen Friedman, Brazilian artist Luiz Zerbini’s canvases are saturated with tropical colors and plant life. And in Anat Ebgi’s three-person presentation, Palestinian-American artist Jordan Nassar’s embroidered, mountainous landscapes employ the Palestinian cross-stitch technique tatreez alongside other Levantine craft traditions.
Andrea Bowers, The Dead Silence of Extinction (Moloka’i Creeper, last confirmed sighting 1963, HI, scientific specimen preserved at Auckland Museum’s Natural History Collection) (2023). Photo: Brica Wilcox. Courtesy of the artist and Vielmetter Los Angeles.
Vielmetter’s two-artist presentation includes Whitney Bedford’s nine-panel painting Veduta (Vulliard Jardin Publics), (2023–24), an homage to Nabi painter Edouard Vuillard’s decorative tendencies (it is being offered for $300,000). The leisurely park scenes of his 1894 painting Jardins Publics appear almost as a wallpaper, overlaid with bright orange and red weeping willows symbolic of ecological urgency. They also match the urgency of Andrea Bowers’ The Dead Silence of Extinction series, drawings of dead birds tagged and labeled as natural history museum specimens, that will appear alongside (each work is priced at $42,000).
And as part of the Focus section for emerging artists at Frieze LA, curated this year by Essence Harden, the visual arts curator at the California African American Museum, L.A. gallery Sow & Tailor presents new paintings by Javier Ramirez. In sheer, dripping acrylic, he layers bonsai trees, lawn mowers, and the domestic outdoors as an homage to the Japanese and Latino landscapers who’ve historically shaped LA’s greenery.
Javier Ramirez, Walk thoughts #2: Buzzy (2024). Photo: courtesy of Sow & Taylor.
In fact, urban landscapes that layer the city’s cultural iconography, especially by Chicano artists, is one of the most important things happening in L.A. art right now—a focal point of recent biennials and current shows at Charlie James and Jeffrey Deitch. It’s surprising and disappointing that such work is less visible at the fair.
Flowers and Still Lifes
Flowers feature prominently in both landscapes and still lifes, but the two genres have important distinctions. Landscapes, regardless of their temporal or geographic specificity, are generally interesting to people because they’re pretty. The details of a still life, on the other hand, are inseparable from biographical or allegorical readings—we look at the placement of each object and expect it to mean something. They have been everywhere at recent fairs.
In this vein, Awol Erizku’s photographs on view in a solo booth with Sean Kelly capture the artist’s notions of Afro-esotericism, an aesthetic of cultural continuity between Africa and its diasporas. Often captured against a monochrome backdrop, his scenes may include African masks, Nefertiti busts, a bottle of Aunt Jemima breakfast syrup, or cash, plus allusions to fellow artists David Hammons, Marcel Duchamp, or Andy Warhol that are simultaneously reverent and critical of art history. (Flowers and female nudes, perennial subjects of interest, also intermittently appear.)
Awol Erizku,Moonlight Freestyle (2021). Photo: © Awol Erizku, courtesy of the artist and Sean Kelly, New York/Los Angeles.
Brazilian artist Paulo Nimer Pjota works in a conceptually similar vein, layering elements of contrasting graphic and historical references in his paintings. His older works deconstructed and reassembled the still life through the language of graffiti, placing photorealist ancient pottery on canvases that emphasized texture over image, like the surface of a blank wall. His more recent works, included in Mendes Wood’s group booth, are decidedly softer, where both the pottery and canvas are now filled with flowers.
Artist Stephanie Syjuco’s research-based practice often mines photographic archives as a way of recontextualizing Filipino history. In Silverlens’ two-person booth, her new black-and-white prints collage images of decorative plants with faint texts alluding to civil unrest, both pulled from the since-shuttered Manila Chronicle newspaper. According to the gallery, the juxtaposition shows “how power disguises itself in decorative veneer.”
Stephanie SyjucoForce Majeure 5 (Propagation / Troopers) (2023). Photo: courtesy of the artist and The Lopez Museum and Library.
Another Focus presentation is Matthew Brown’s solo booth of works by Kent O’Connor, a painter known for depicting objects in his studio on perspective-flattening tables. And back in the general section of the fair, Seoul-based Gallery Hyundai’s booth features “approximately 20” works by emerging photorealist Kim Sung Yoon, whose paintings check multiple trending boxes. His still life (tick) makes historical reference (tick) to the Old Masters idea of the impossible bouquet, arranging flowers (tick) that would normally never bloom in the same place at the same time. The flowers are sourced from online stock imagery and digitally assembled in vases (tick) by fellow artist Yoo Eui Jeong, whose ceramics merge classical forms (tick) with contemporary graphics and logos. According to the gallery, Kim’s canvases embody a “convergence of multiple contexts” and “eerily recognizable landscapes” (tick and tick).
Sculptural Vessels and Busts
This leads us handily into our final trend to spot at Frieze LA: ceramics, the natural, classical, sculptural companion to floral still life paintings. Hyundai’s booth, for example, will also feature the actual vases by Yoo depicted in Kim’s paintings.
Allison Schulnik’s solo booth with L.A. gallery The Pit shows her textural oil paintings of arranged desert flora alongside new glazed porcelain vessels, priced between $12,000 and $18,000. Totemic and asymmetrical, their surfaces are covered with the wildlife of her home in the Mojave—coyotes, snakes, and butterflies. Vessels adorned with other tiny ceramic animals is a tradition of California Funk artists like Melvino Garretti, whose colorfully glazed pots prominently feature in Parker Gallery’s group booth.
Allison Schulnik, Pink Moth Pot (2023). Photo: Jeff Mclane.
The classical bust also emerges as an extension of the portrait, in booths such as Dominique Gallery’s solo presentation of Mustafa Ali Clayton, an L.A. painter-turned-sculptor. His sculptural earthenware portraits of Black figures, stylized with cartoonishly childlike rounded ears and button noses and finished with a high-gloss ebony glaze, feature quotidian cultural markers like the colorful beaded braids of Sofia (2022).
At Kasmin, multidisciplinary artist vanessa german presents a new series of works for the first time at Frieze LA. Her plaster busts are adorned with rose quartz, a pink crystal whose alleged healing properties align with the artist’s spiritual ethos of restorative justice, love and redemption. Combining elements of folk art and mysticism, the rose quartz, alongside pyrite, blue lapis and chalcedony, takes on gem- and bead-like qualities, covering the surface of the busts with a mosaic of patterns. A handful of these works will include accompanying prayers recorded by the artist, incorporating the ritual and performance elements of her practice.
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Indian festival gave visitors deep look at Indigenous cultures
The bustling Arizona Indian Festival earlier this month in Scottsdale showcased Native singing, dancing and art to promote tourism and awareness of Arizona’s tribal communities as visitors learned about Indigenous culture and history through vendors, art and demonstrations.
To ensure that visitors interacted with real Native art, an Arizona Indian Festival committee vetted all festival vendors for authenticity. Vendors were also required to show a certificate of degree of Indian or Alaska Native blood, which proves they are authentic members of Native American nations in Arizona.
Silversmith Steve LaRance from the Hopi Tribe said people visiting the Southwest find Native American culture interesting and want an authentic experience.
“Our artwork carries a lot of that beauty and culture when we create it,” he said.
LaRance said the authenticity of Native American arts and crafts is important because there are knockoffs from Indonesia, China, Japan and other countries that take away from the income of Native people and their families.
“It’s all about the money because Native American arts and crafts is a multibillion-dollar industry annually,” LaRance said.
LaRance said Native American arts and crafts are highly regarded all over the world because they carry the culture and history of Indigenous people.
“Each piece I create is a one-of-a-kind piece and I always am glad that I have a client or customer that just is really appreciative of the work that I put into my creations, and they appreciate the culture that it comes from and not only the culture but the artists that created it,” LaRance said.
LaRance said he can create simple sterling silver rings that take about a day to finish or make an elaborate piece of jewelry that takes two or three months, depending on the complexity, design and materials.
Another artist at the festival, Navajo jeweler Tonya June Rafael, said there are knockoffs threatening her business, and there is nothing she can do about it. Rafael said once at a show she sat next to two big booths that resold mass-produced jewelry.
“I’m a one-man person and I’m trying to sell my jewelry. … I mean how do I compete with that?” Rafael said.
Despite the challenges, Rafael said she wants her work to inspire younger Native artists to create their own designs.
Rug weaver Sonja Morgan from the Navajo Nation said there’s been a push for authentic Native art because Native American tradition is being recognized more, even in movies.
The festival raises awareness about Indigenous culture and all the hard work that artists put in. Morgan used a Navajo loom to show people the complex process of rug weaving.
She said authentic art is always the best because a buyer knows the work came straight from the artist and the artist didn’t add anything cheap or skimp on the process.
Morgan said when she makes a rug, she thinks about who she is making it for and keeping good spirits in the product.
“There’s more of the blessings and the prayers,” Morgan said of authentic art. Morgan said she loves showing people her work and seeing their positive reactions.
“These are the things all colonizers tried to take away from us. They tried killing all of us, but we are still here … trying to keep it alive,” Morgan said of Indigenous art and culture.
Navajo silversmith McHale Alcott explained the festival is also about family and continuing Indigenous art across generations.
“It’s like a family gathering,” Alcott said. “It’s like a family reunion for all of us.”
Photographer Toyo Miyatake in Pasadena
Alan Miyatake holding the original box camera his grandfather, Toyo, made in Manzanar (Photo – Cheryl Cabot)
The Life of Toyo Miyatake, photographer of Manzanar Internment Camp, will be presented by his grandson, Alan Miyatake.
By Cheryl Cabot
Alan Miyatake, grandson of Toyo Miyatake who famously photographed the Manzanar Interment camp, will give a presentation about the incredible life and photographs of Toyo at Pasadena’s Lamanda Park Library, 140 S. Altadena Drive, Pasadena, on March 2, from 2:00 to 3:00 pm.
After the attack on Pearl Harbor on December 7, 1941, Toyo and his family were forced from their home and photography studio in Boyle Heights, and transferred to the Manzanar Internment Camp in Owens Valley, California. He entrusted his home and studio to Caucasian friends in his absence.
Against the rules, Toyo snuck in photography equipment and made a camera out of a wooden box. He had film smuggled in by a friend delivering supplies to the camp. Even though his camera was confiscated by the director of the camp several times, Toyo continued to take photographs so he could film “this injustice” (Manzamar).
Eventually, Toyo and the camp director came to an understanding and Toyo became the ‘unofficial’ photographer, allowing him to provide the most comprehensive photographic history of the camp.
This and other stories will be told by Alan, along with photographs taken by Toyo’s box camera, at the Lamanda Park Library presentation on March 2. There will be a Q & A following Alan’s talk.
Date/Time 03/02/2024 2:00 pm - 3:00 pm Location Lamanda Park Branch - Pasadena Library
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Chaddesden: Damaged tree turned into dog sculpture
The sculptor says the reaction to his work has been “amazing”.
Farnham: Gallery marks two years since Ukraine war began
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By Bob DaleBBC News, South East
Creative ResponseA Surrey art gallery is marking two years since of the start of war in Ukraine with an exhibition of photographs by women who fled the country.
The show, Unbowed: Stories of Ukraine, documents the women’s lives in the UK and what they have left behind.
It has been led by Kyiv photojournalist Natalia Sharomova, who fled Ukraine with her two children.
She said: “This photo project is about gentle and resolute women.
“These are not only our stories. I believe they can support and inspire others not to give up, even if you have lost everything.”
The images have gone on show at the gallery of the Creative Response charity, in Farnham.
Natalia has settled in the town and now works as a local newspaper photographer.
She taught portrait photography to the other women in the group, which was founded in November 2022, with their pictures and words making up the exhibition.
Creative Response is a charity which offers arts workshops to people experiencing mental health or physical difficulties.
Kathryn McManus, its chief executive, said: “This exhibition is an important record of the experiences of members of our Ukraine art group, as well as a stunning exhibition of portrait photography.”
The exhibition, which runs until 15 March, is funded by the National Lottery.
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Romany artist’s sculpture to go to Sussex University to inspire students
Prissy, Queen of the South is set to be placed on Sussex University’s Falmer campus for a year.
