Glamour Cabs
Image Size: 16" x 20"
Exclusive to Bohemia Galleries for this Exhibition
Limited Editon of 50 Only
RRP £275
Special Price of £200 Framed for the duration
of the Show
Richard Heeps
Richard Heeps' photography is both art and documentary. He has
pursued a wide range of projects with a superb eye for colour
and composition, and a keen awareness of the narrative behind
the image. His seductive, highly-saturated colours and sophisticated
pictorial structures demonstrate a true love and empathy for
his subject matter - be it cool, descriptive interiors, still
life or landscape. His distinctive style pushes the limits of
lens-based photography without the need for digital manipulation.
Hand-printed by the artist to heighten the colour
saturation, Richard's c-type photographs are all printed from
the negative in 'full frame' which gives the distinctive ragged
edge-look.
Exhibitions include The Photographers' Gallery
- London and Rencontres de la Photographie - Arles. Profiled
in The Independent and British Journal of Photography.
This ia just a small selection for this site there
are currently more than 1100 of Richard Heeps' photographs,
organised by theme or project. New images are frequently added.
Please inquire for more information sheana@a-r-t.co.uk
Limited edition prints
Limited edition prints are numbered and signed
by the artist on the back of the print.The price of the edition
increases as the edition sells or the market value rises. All
images are available as C-type hand-printed photographic prints
in limited editions. The limited editions come in conventional
sheet paper sizes.
Dry mounting, Matting (mounts) and Framing
Conventionally all our frame work is dry mounted onto aluminium.
This ensures a very flat image surface. The prints are matted
(mounted) using a 100% cotton museum board especially manufactured
to be compatible with C-type photographic paper. The work is
framed and glazed in a matt black profile 15 aluminium Nielsen
frame.
All work is signed and editioned on the back of
the artwork. It is clearly visible on the back of the framed
piece.
The matt (mount) can be signed and editioned in
pencil on request.
C-type hand prints from negative
24in. by 20in.: Signed edition of 15-25 Framed
Call
20in. by 16in.: Signed edition of 15-25 Framed
Call
10in. by 8in.: Signed edition of 15-50 Framed
£82 £50 Mounted
All Prices include VAT
RICHARD HEEPS: PHOTOGRAPHER
A MODERN DAY PURIST.
Perhaps the best way to understand who the photographer Richard
Heeps is can be achieved by looking at who he most certainly
is not: a digital photographer. He is a modern artist and his
medium is the photograph. Yet Richard Heeps could easily be
understood as belonging to the ‘Old School’…
‘Tis the past contending with the present.’
This now famous expression was first used by the travel writer
Samuel Rogers to describe the incredible sense of living history
he experienced in the city of Florence. As a pivotal city in
the History of Art, it naturally became an import location in
the early days of photography. Indeed it was during a tour of
Italy that Sir William Henry Fox Talbot first conceived the
idea of his world famous negative/positive photographic process.
Richard Heeps is a great credit to these early pioneers. His
appreciation for the past - and its contention with the present
- characterises his style and dictates his practice. He says
“I do equally like aspects of the past and the present.”
This is reflected in his work; “I would like to think
that my present practice has some relationship to the work I
did as long as 20 years ago.” Heaps is quick to recognise
the influence his childhood had on him and humbly gives credit
to his parents. “Looking and exploring was greatly encouraged
by my parents, both myself and my brother were encouraged in
our own art,” Heeps’ desire to recognise the past
in his present work comes from “a passion for recording
things before they are lost.” He explains: “I have
coined this process as ‘pickling’ the past.”
Digital photography is equally capable of ‘pickling’
the past, though it perhaps lacks some of the obvious connotations
evoked by the chemical processes used in film development. So
why when I asked Heeps “What annoys you most?” was
his answer so emphatically “digital photography and inkjet
prints”? The issue perhaps is in part connected to the
age with which digital photography is associated. For Heeps,
digital photography seems to be a reflection of those things
which upset him about our culture. He explains “where
I do have issue with the present, is the development of the
disposable culture. Craftsmanship is something which has been
lost and something I try to embrace within my own work.”
You see Heeps is not looking for the “winning snap shot”
but rather his desire is to “create a series.” He
explains that unlike many of his contemporaries; “I do
not go round with a camera around my neck all the time.”
Instead, his concern is to create and compose like a painter.
His preference is in keeping with early photographers who were
physically restrained by the weight and size of their cameras.
“My cameras are generally heavy and I will go round with
as many as six cameras at a time. Each with a full set of lenses.”
To work like this has always and still does require a great
deal of patience. JMW Turner would sometimes
sit for an entire day without drawing or painting, before engaging
in a period of frenzied and perfect productivity. Heeps recognises
the value of waiting. Like a film negative, he spends time exposed
to his subjects allowing the character of the image to emerge.
“This can only be achieved by spending a long time in
one place getting to know your subject and waiting for the right
time.” Heaps is happy to invest this time and energy.
This characteristic is also reflected in Heeps’ attitude
to production – an attitude we have seen in the past through
Sir WHF Talbot perseverance and limited success. Heeps has learnt
from the father of photography and with great success has demonstrated
how to do it himself. Of course most photographers produce their
own work, and Heeps is no different; “I produce from the
negatives, hand-printed C-type (Chromogenic) photographs in
my own darkroom.” What singles him out is his work ethos.
Indeed he is too modest too mention the degree of enthusiasm
and energy he invests into his work - fuelled by a determination
to produce and make available good quality photography.
When asked to name his single most favourite image Richard
will say that it changes on a daily basis but “probably
Bonanza Café found on the front cover of my book Mans
Ruin. Compositionally, I am very pleased with it but the thing
about this photograph was the element of surprise of the log
truck passing through the back ground and compliments the stillness
of the rest of the image.
As Richard Heeps continues to give a nod of approval to the
past he can confidently look forward to receiving the same for
his future!
