Ken Grant
Tommy Haygarth and Man with a Face Brace, Birkenhead, 1996
Pigment print
38.1 x 38.1 cms
; 15 x 15 ins
; 15 x 15 ins
10538
Edition of 6 From the series 'No Pain Whatsoever.' Ken Grant's photographs are autobiographic. Although his work has been compared to Martin Parr and Chris Killip's photographs, in each of...
Edition of 6
From the series 'No Pain Whatsoever.'
Ken Grant's photographs are autobiographic. Although his work has been compared to Martin Parr and Chris Killip's photographs, in each of his photographs there exists a deeply emotive quality that is personal, but also reflective of the changing economic consideration that defined domestic and public life in Liverpool over the last decades.
Underscoring his photographic practice is the economic policies of Thatcherism. Grant said, 'I think it is impossible not to be influenced by what place in Liverpool under Thatcher's regimelot of my work was influenced by policy decisions, so it's kind of there, but I've been conscious of people having a level of irreverence because you just find a way to get by'.
His photographs are deeply linked to his own personal history of his home town, Liverpool: 'You feel overprotective of a place and critical of representation of those peoplepeople make pictures that feel brief or transient, but that isn't my goal'. When looking at the work, it is apparent there is a great sense of investment, not just in a photographer capturing a subject, but also someone who is deeply intertwined in the lives and the city he photographed.
From the series 'No Pain Whatsoever.'
Ken Grant's photographs are autobiographic. Although his work has been compared to Martin Parr and Chris Killip's photographs, in each of his photographs there exists a deeply emotive quality that is personal, but also reflective of the changing economic consideration that defined domestic and public life in Liverpool over the last decades.
Underscoring his photographic practice is the economic policies of Thatcherism. Grant said, 'I think it is impossible not to be influenced by what place in Liverpool under Thatcher's regimelot of my work was influenced by policy decisions, so it's kind of there, but I've been conscious of people having a level of irreverence because you just find a way to get by'.
His photographs are deeply linked to his own personal history of his home town, Liverpool: 'You feel overprotective of a place and critical of representation of those peoplepeople make pictures that feel brief or transient, but that isn't my goal'. When looking at the work, it is apparent there is a great sense of investment, not just in a photographer capturing a subject, but also someone who is deeply intertwined in the lives and the city he photographed.