Morning Glory, Sheikh Sayed Mosque, Abu Dhabi, 2020
One of the most imaginative photographers at work today, Knorr's photographs combine a profound sense of place with concerns that range from the sociological to the allegorical.
Her earliest series, which uses imagery and text, are ironic and humorous examinations of the British class system of the Thatcher era, which address the conservative values and lifestyle aspirations of London's high society.
Belgravia, Knorr's first series, was taken over a two-year period, from 1979-1981. With a family home in Belgravia, Knorr was familiar with the cosmopolitan neighbourhood, and photographed its residents in a collaborative way. The resulting portraits are presented with text, reading as a satirical critique of the image above. Speaking about the work, Knorr notes that, '...the photographs are not about individuals but about a group of people and their ideas during a particular time in history. They are non-portraits in that they do not aim to flatter or to show the truth of these people. People are not named and remain anonymous'.
Knorr continued to photograph London's 'privileged minority' into the early 1980s, venturing into the private clubs of St. James, creating a body of work called Gentlemen. Experimenting with heritage interiors, Knorr continues to use public heritage sites as settings for her photographic work in Europe, and more recently, India, as a means of commenting on current modes of art consumption.
Knorr currently lives and works in London and is a Professor of Photography at The University for the Creative Arts.
Belgravia, Knorr's first series, was taken over a two-year period, from 1979-1981. With a family home in Belgravia, Knorr was familiar with the cosmopolitan neighbourhood, and photographed its residents in a collaborative way. The resulting portraits are presented with text, reading as a satirical critique of the image above. Speaking about the work, Knorr notes that, '...the photographs are not about individuals but about a group of people and their ideas during a particular time in history. They are non-portraits in that they do not aim to flatter or to show the truth of these people. People are not named and remain anonymous'.
Knorr continued to photograph London's 'privileged minority' into the early 1980s, venturing into the private clubs of St. James, creating a body of work called Gentlemen. Experimenting with heritage interiors, Knorr continues to use public heritage sites as settings for her photographic work in Europe, and more recently, India, as a means of commenting on current modes of art consumption.
Knorr currently lives and works in London and is a Professor of Photography at The University for the Creative Arts.