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Lia Darjes | Plates I-XXXI

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For her new series Plates, Lia Darjes arranges an experiment on the subject of still lifes. While she sets the ‘stage’ for these pictures, the main aspect is chance, the serendipity principle. ‘For my new work, I invite myself to eat and drink in the gardens and on the terraces of my friends. The place settings on the garden table become the basis of a still life through my intervention. After I leave, a camera remains behind as a passive observer for a few hours or whole days. It is triggered by movement when birds or wild animals visit the table. In this way, images are created where it is not clear whether it is a documented scene or an arranged still life. I find it fascinating to combine the staged and the accidental in one picture. Plate is a semi-documentary still life study dedicated to the grey area between the habitats of humans and wild animals,’ explains the artist.

‘My photographic work always has a documentary character. I find it appealing to explore the boundaries of documentary photography and to anticipate the viewer’s experience when taking photographs,’ says Lia Darjes, explaining her working method. Lia Darjes was born in Berlin in 1984 and grew up in Hamburg. She studied under Ute Mahler at the HAW in Hamburg and then as a master’s student under Ute Mahler and Ingo Taubhorn at the Ostkreuzschule in Berlin. Lia Darjes became known for her series Tempora Morte, which was published by Hartman Books in 2019 and received international attention and critical acclaim. The book for the current series is published by Chose Commune, Marseille.

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Current

Simon Roberts | Looking at what can’t be seen

Cloud Negative #1, 2021, 100 x 140 cm, Metallic pigment print, Ed. of 3 + 1AP
Cloud Negative #1, 2021, 100 x 140 cm, Metallic pigment print, Ed. of 3 + 1AP
1/22
The Celestials #18B_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #18B_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
2/22
The Celestials #12A_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #12A_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
3/22
The Celestials #10A_05, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #10A_05, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
4/22
The Celestials #04C_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #04C_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
5/22
The Celestials #09A_04, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #09A_04, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
6/22
Cloud Negative #3, 2021, 100 x 140 cm, Metallic pigment print, Ed. of 3 + 1AP
Cloud Negative #3, 2021, 100 x 140 cm, Metallic pigment print, Ed. of 3 + 1AP
7/22
The Celestials #01B_07, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
The Celestials #01B_07, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
8/22
The Celestials #02B_01, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
The Celestials #02B_01, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
9/22
The Celestials #10A_16, 2020, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
The Celestials #10A_16, 2020, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
10/22
The Celestials #34A_04, 2020, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
The Celestials #34A_04, 2020, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
11/22
The Celestials #10A/12A_01, 2021, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
The Celestials #10A/12A_01, 2021, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
12/22
The Celestials #02A/028, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #02A/028, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
13/22
The Celestials #05B_04, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #05B_04, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
14/22
The Celestials #33A_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #33A_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
15/22
The Celestials #26A_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
The Celestials #26A_02, 2020, Cyanotype, 25.4 x 20.3 cm (10 x 8 in), Unique piece
16/22
Cloud Negative #4, 2021, 100 x 140 cm, Metallic pigment print, Ed. of 3 + 1AP
Cloud Negative #4, 2021, 100 x 140 cm, Metallic pigment print, Ed. of 3 + 1AP
17/22
The Celestials #28A_04, 2020, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
The Celestials #28A_04, 2020, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
18/22
The Celestials #32A_07, 2021, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
The Celestials #32A_07, 2021, Cyanotype, 38.1 x 27.9 cm (15 x 11 in), Unique piece
19/22
The Celestials #28A_02, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
The Celestials #28A_02, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
20/22
The Celestials #23A_04, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
The Celestials #23A_04, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
21/22
The Celestials #25A_02, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
The Celestials #25A_02, 2020, Cyanotype, 20.3 x 25.4 cm (8 x 10 in), Unique piece
22/22

The exhibition combines works from two series by British artist and photographer Simon Roberts: “The Celestials” and “Cloud Negatives”.

During the global pandemic and ensuing lockdowns, satellite images released by NASA and the European Space Agency showed a dramatic drop in nitrogen dioxide emissions; the skies were clearer and bluer, and the earth was breathing again. The cyanotypes in the series “The Celestials” were created during that time, using negatives of pictures taken from plane windows during work expeditions over the preceding years. The Prussian blue of the cyanotypes, a colour that is not found in nature, is brought about by a chemical reaction that produces ferric ferrocyanide. They evoke an otherworldly, dreamlike intensity that is augmented in several cases by layering multiple negatives – creating “fictional” images and allowing us to “look at what can’t be seen.” The same is true for the large-format black and white prints in the “Cloud Negatives” series, which were made using the same negatives. Both series work with a degree of abstraction that speaks of the essence of what many people experience in our time of climate emergency: our altered states and perspectives, collective uncertainty and deepening awareness of the interconnectedness between us and the natural world.

Simon Roberts (*1974, UK) is a visual artist widely recognised for his large-format photographs of the British landscape; his practice also encompasses video, text and installation work, which interrogate notions of identity and belonging and the complex relationship between history, place and culture. He has exhibited widely, and his photographs can be found in major public and private collections, including the George Eastman House, Deutsche Börse Art Collection and the Victoria & Albert Museum. He is the author of several critically acclaimed monographs, including “Motherland” (Chris Boot, 2007), “We English” (Chris Boot, 2009), “Pierdom” (Dewi Lewis Publishing, 2013) and “Merrie Albion – Landscape Studies of a Small Island” (Dewi Lewis Publishing, 2017), his work has also been profiled and published widely including in the New Yorker, Granta, National Geographic, ARTFORUM, Wallpaper, amongst others. Roberts holds a BA Hons in Cultural Geography from The University of Sheffield and is a regular public speaker and visiting lecturer. He lives and works in Brighton, UK.

Press Release DE / EN

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