•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

EXHIBITED AT THE SAATCHI GALLERY

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Anne Hardy
Cell

2004

Diasec mounted c-type print

120 x 150 cm
Anne Hardy’s photographs picture depopulated rooms that suggest surreal fictions. Working in her studio, Hardy builds each of her sets entirely from scratch; a labour-intensive process of constructing an empty room, then developing its interior down to the most minute detail. Using the transient nature of photography, Hardy’s images withhold the actual experience of her environments, allowing our relationship with them to be in our imagination.
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Anne Hardy
Drift

2004

Diasec mounted c-type print

120 x 180 cm
The painterly aspect of Hardy’s work is exemplified in Drift: an image of a buried room. The room’s spatial qualities are almost completely negated, flattened by the camera’s aperture into a self-consciously pictorial surface. The extreme lighting of the scene both intensifies and diffuses the objects’ textures giving the control panel an impasto effect, and the ‘earth’ the soft feel of impressionistic brush marks. The sparse furnishings conceive the scene in terms of geometric abstraction, a metered tableau of hard-edged shapes and affected concentrated colours.
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Anne Hardy
Untitled VI

2005

Diasec mounted c-type print

120 x 150 cm
In pieces such as Cell and Untitled VI, Hardy’s dense interiors become sites of wonder and unease as seemingly miscellaneous found objects compile with an obsessive and meticulous order. Hardy’s subjects exude the not-quite-right ambience of dreamscape or madness; a sensation heightened through the unnatural intensity of artificial light. Printed in large format, Hardy’s photos give the viewer a sense of looking through a window at these spaces.
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Anne Hardy
Cipher

2007

Diasec mounted c-type print

144 x 174 cm
Hardy’s work transforms sculpture into photographic ‘paintings’. Though her scenes are built in actuality, their compositions are developed to be viewed from one vantage point only and it’s only their 2 dimensional images that are shown. Hardy uses the devices inherent within photography to heighten her work’s painterly illusion. In Cipher, aspects such as the hazy aura around the fluorescent lights, faux grotto walls, and the spatial defiance of the hanging ropes, give allusion to gesture and drawn lines.
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Anne Hardy
Building

2006

Diasec mounted c-type print

120 x 150 cm
Through her intensive process of set building Hardy engages with ideas of theatricality, fiction, and performance. Her scenes suggest not only elaborate narratives of place, character, and events, but also a meta-narrative of obsession and control in manifesting their fantasy – all for the solitary moment of the photograph. Unlike film stills, which represent an image of a linear and contextualised story, Hardy’s photographs compound a sense of disjointedness and isolation. Their hermetic aura and invitation to scrutiny affirms their uncanniness or ‘unrealness’. Building offers a surveillance room for forensic study, its wall of monitors broadcasting yet another world within its imagined scene, a further layer of embellished construction, reflecting on the fabricated nature of all realities.

ARTICLES

anne hardy

ArtSway in the New Forest is presenting an exhibition of large-scale photographs by London artist Anne Hardy. Interior Spaces will be on display from the end of February.

Anne Hardy lives and works in London but this exhibition includes new work that was produced during her residency at ArtSway in the autumn.
At first glance her images appear to be photographs of existing places but they are, in fact, sets that have been constructed by the artist in her studio.

The subjects of her photos are objects which she has found. These range from Christmas trees and antlers to balloons and butterflies - but not in the way you might expect.
These are not pretty nature images. The photos are almost unnerving with a feeling of abandonment and desolation. They depict how people constantly seek to manipulate the space around them and how objects can often become taken for granted.

In her photograph entitled Lumber, Hardy has constructed a room-like setting with unpainted plasterboard and foam sealant. This seemingly neglected room is the resting place for old Christmas trees which have been left to decay.

Read the entire article here
Source: bbc.co.uk



anne hardy's interior landscapes

Sometimes we get fixed on particular images, configurations of things that transcend their physical presence. We internalise them, turn them into private metaphors, return to them in dreams, try to puzzle out the hermetic secrets they hold. Anne Hardy's Interior Landscapes are vivid representations of our mental images of these places.

Pictures of strange, claustrophobic, often slightly menacing interiors, her photographs seem to document private passions taken to extremes. In some pictures the natural world intrudes, or threatens to intrude, inside. Vines are nurtured by artificial light in a shallow hatch; the large windows of a control room are piled high with dead leaves. Some of the Interior Landscapes function as surreal mementos mori: bare and forlorn tree trunks bedecked with thick cobwebs; antlers casting spidery shadows against a grubby wall.
A brightly lit room is stuffed with discarded Christmas trees. An interior is overrun with light bulbs and brightly coloured cables. These are spaces of the imagination that follow their own inexorable logic. We look for clues that might help us find our bearings but the spaces are alienating, speaking of unfathomable obsessions.

Read the entire article here
Source: artsway.org.uk