Big Deal No7: Space

Big Deal No7: Space @ Q-PARK 39, London 1 – 10 December 2016
Exhibiting The Eyes of Argus, the Submillimeter Array (SMA) on Mauna Kea, Hawaii, detecting light of colour that is not visible to the human eye.
Artlyst quotes: ‘A spectacular multimedia group exhibition in a multi-storey underground car park situated in the heart of Soho’s West End over the period of 10 days…It is an amalgamation of imaginary ideas and processes related and created as a response to the genre of Science Fiction, this exhibition features work in the media of sculpture, photography, painting, film, video and audio installations by some 100 international artists and guest students from RCA.’
Archival Giclee print mounted on Dibond  (aluminium & composite board) 75 x 100 cm.

Homage to ‘Nostalgia for the Light’

JGblog Dark&LightStills


The Dark and the Light:
Homage to Nostalgia for the
Light @ Berliner Liste, Berlin
18 – 26 September 2014

A poetic meditation on the past, time and memory, drawing inspiration from Patricio Guzmán’s remarkable film, Nostalgia for the Light (2010). Set in Chile, in the Atacama Desert and observatories in the Andes Mts (where this photograph was taken) the film reveals light/memory parallels… searching the past to seek answers. Gelatin silver hand printed on matt fibre-based paper; 24 x 34cm; edition of 24.  Exhibited with AMBruno. 

Separations at Eagle Gallery

Punctuations, Separations and Artists’ Books
@ Eagle Gallery/EMH Arts, London
21 June – 19 July 2013

  • Books acquired by the Tate and the Victoria & Albert Museum, London 
  • Selected ‘The Best Books for 2011’ by Elizabeth Tonnard for Photo-eye Magazine, USA

Separations exhibited at Eagle Gallery, London, includes 9 prints (33 x 33cm, Giclee printed on 300gsm Somerset paper); 8 special edition cloth-covered solander boxes with books and 11 s/s prints (17x12x2cm); and individual books (24pp, 15x10cm), produced by Book Works.
Elizabeth Tonnard writes: ‘
A small, restrained book of tiny seascapes. At first they look like watercolors. The beauty lies in the fact that the photos more or less leave behind their representational qualities to become objects on top of the page. These objects are anonymous, empty, they exist in their color.’
Emma Hill, Eagle Gallery writes: A pared down, minimalist approach is apparent in the works of Jane Grisewood… Separations 2011 – 2013 is a book and related sequence of prints that were inspired by the vast tracts of water that separate the artist’s native New Zealand from Britain. Using the most basic of landscape indicators – the horizontal line, Grisewood has brought together a collection of haunting photographic images made from film, digital camera and mobile phone.’