John Blakemore
England's Glory 1 (Fulbeck), 1981
Vintage Gelatin Silver Print
Series: Landscape 1970-1981
11181
Provenance
Hamiltons Gallery, LondonExhibitions
Tomorrow, Council for the Protection of Rural England, 1986 (This print)A Green and Pleasant Land: Landscape and the imagination, 1970-now, Towner Art Gallery, Eastbourne, 2017-18 (This print)
Modern Nature. Photographs from the Hyman Collection, Hepworth Wakefield, 2018-19. (This print)
Four photographs in a single mount as originally exhibited. 'Fulbeck, the flat, windswept, intensively farmed landscape of Lincolnshire. And, unexpected, protest at the ominous, resented presence of Nyrex. A disused...
Four photographs in a single mount as originally exhibited.
"Fulbeck, the flat, windswept, intensively farmed landscape of Lincolnshire. And, unexpected, protest at the ominous, resented presence of Nyrex. A disused airfield, one of a number of areas under investigation as possible sites for dumping of nuclear waste.
A commission from the CPRE, to photograph an area of outstanding natural beauty. I negotiated permission to include signs of protest in my piece and began to photograph. The wind, multiple exposure, the added conotations of nuclear waste, the wind as carrier of contamination. I decided that all my photographs would be of the wide landscape, an agricultural landscape devoid of people, their presence implied only by the signs of protest.
I thought perhaps this could be a way back to working in the landscape, to include the overtly political but the urge died with the completion of commission and the return to the studio.
From: Photographs 1955 - 2010 John Blakemore (p.126)
"Fulbeck, the flat, windswept, intensively farmed landscape of Lincolnshire. And, unexpected, protest at the ominous, resented presence of Nyrex. A disused airfield, one of a number of areas under investigation as possible sites for dumping of nuclear waste.
A commission from the CPRE, to photograph an area of outstanding natural beauty. I negotiated permission to include signs of protest in my piece and began to photograph. The wind, multiple exposure, the added conotations of nuclear waste, the wind as carrier of contamination. I decided that all my photographs would be of the wide landscape, an agricultural landscape devoid of people, their presence implied only by the signs of protest.
I thought perhaps this could be a way back to working in the landscape, to include the overtly political but the urge died with the completion of commission and the return to the studio.
From: Photographs 1955 - 2010 John Blakemore (p.126)