redeye.org.uk - Spotlight on: Matthew Murray

Spotlight on: Matthew Murray | Redeye

Redeye.org.uk Spined HTML

Spotlight on: Matthew Murray | Redeye Skip to main content Menu Home Redeye Events News & Opportunities Events Exhibitions BlogTranslatingPortfolios Join Redeye The photography networkWell-nighRedeye | Contact | FAQs Join Redeye Search Search Hello, have an account?Sign In | Forgot Password User login Username * Password * Create new worth Request new password Sign in to your worth Home Redeye Events News & Opportunities Events Exhibitions BlogTranslatingPortfolios Join Blog Spotlight on: Matthew Murray Posted 28 August 2018 Interview by Justine Marklew Matthew Murray’s career as a visual versifier spans scrutinizingly 30 years. His professional versatility and unrenowned creativity has seen him vicarious on the strength of his personal work shooting whilom the line razzmatazz campaigns for some of the world’s leading razzmatazz agencies and working slantingly some of the most creative Art and Creative Directors in the merchantry - Trevor Beattie, Graham Cappi, James Gillham, Richard Flintham, Al Moseley, David Hellqvist and Terry Jones. Murray is moreover vicarious and publishes personal projects in the likes of VICE, i-D Magazine, Port Magazine, FD Magazine, The Guardian, Dazed Digital, Feature Shoot. Exhibiting personal projects at venues such as Arles Recontre Arles Festival, France, National Portrait Gallery, London, Paris Photo – Le Carrousel Du Loure, Paris, Elliott Halls Gallery, Amsterdam, Huis Marseille Amsterdam, Fotografie Museum, Berlin, Die Photographische Sammlung/SK Stiftung Kultur, Cologne -  he is moreover the recipient of numerous awards. But it is in Murray’s personal projects where we see the joy, transferral and intensity expressed conveying a highly charged emotional connection with his subject matter. Whether he is documenting his friends and neighbours he has known and loved for years, capturing portraiture of the Ska scene, street photography or most recently, his in-depth exploration of one of the most trappy and foreboding British landscapes, Saddleworth Moor. Saddleworth Moor is a landscape that is engrained in the psyche of British history for all the wrong reasons. A macabre solemnities ground chosen by child killers Ian Brady and Myra Hindley to obfuscate at least three of their victims over 50 years ago. But in Murray’s recent exhibition and publication ‘Saddleworth – Responding To A Landscape,’ Murray has unliable us to engage with the landscape diffusing our uneasiness to its visionless history and replacing it with a stunning visual narrative and a desire to swizzle it’s visionless and dignified magnitude. Arenig Fawr, 2018 – Split Toning Lith and Selenium Why did you decide to start shooting landscape and why Saddleworth Moor? I’d been invited to walkout work at Amsterdam Unseen through Elliott Halls Gallery.Virtuallythe time I had tentatively just started making a new soul of personal work on landscapes. These early photographs exhibited at Unseen became the starting point for the Saddleworth Moor series. Originally I was interested in the visionless history attributed to the Moors. To recognise such a trappy place with such a violent history was a challenging juxtaposition which was I found interesting. How did you segregate the locations for this work from such a vast area? Some of the locations for early photographs were areas where Hindley and Brady had taken trophy photographs of one another. This was the understructure which worked the early narrative, but once I got hooked into shooting the moors through all seasons, I began to understand it’s complexities and raw natural beauty. In many of your previous projects the work is very personal – was there a personal tideway to the Saddleworth Moor series? At the time of shooting this series my father-in-law whom I was very tropical to, was diagnosed with Vascular Dementia and Alzheimer’s. This was a very self-sustaining man I had known for 30 years. Quickly his independence disappeared. My trips to the moors became a period of reflection and photographing the landscape through how I felt rather than what I saw was a way of expressing what we as a family were going through. Arenig Fawr, 2018 – Split Toning Lith and Selenium Did this trauma transpiration the direction or have an impact on the work? The landscape series became increasingly than just treason scene photographs and this personal trauma became a point of departure. The work was increasingly of a personal reflection of my father-in-law’s rapid deteriorating health and the dramatic transpiration in his personality. The work is visionless and melancholic not considering of Hindley and Brady but considering of the helplessness I felt at the time watching my father-in-law’s illness take over. Did this personal tideway inform a variegated methodology? Completely. I was discovering a new methodology which informed a new visual language. Much of the work came from long walks and found landscapes – that’s what was so heady not knowing what I would find and how I transmute my methodology to interpret the landscape. My tideway to photographing this series of landscapes is personal expression of how human and cultural presence is made visible. A number of these landscapes were photographed at night, or early morning using wink lighting, manipulating and interacting with the landscape. Some of the night work was lit using car headlights external lights, torches and mobile phone lights and colour gels – experimenting with the stimulating of the landscape and by doing so creating stimulating and a feeling that was a true representation of how I felt. Chew Hills, Saddleworth Moor, 2016 Saddleworth: Responding To A Landscape took five years to well-constructed what did you learn well-nigh landscape and maybe yourself? I was very naive when I approached this series I hadn’t considered the physical work involved plane surpassing a frame was taken and on top of that I wasn’t interested in recreating what I saw. I had to icon out what I wanted from this landscape. What I wanted to say in the work how I would interpret what I saw. I made many mistakes in the process of making this work but these mistakes and experiments helped push the work forward. I didn’t know that phototherapy existed until without the completion of this soul of work. Looking when this what this project was all about, therapy. What are you working on currently? I’m working on a series of landscape images photographed virtually Arenig Fawr in North Wales in response to the work of painters JD Innes and Augustus John who painted virtually this location over 100 years ago. I’ve recently been awarded Arts Council of England Creative Development funding which will enable me to visit curators both in the UK and Internationally, experiment with how this new work will be conceived, help inform a new methodology and visual language. To alimony up-to-date on Matthew's work, visit his website or Instagram. Saddleworth: Responding To A Landscape publication can be ordered directly from Beyond Words Books. Forward by Martin Barnes Senior Curator of Photographs at the V&A Museum, London, remoter essays from versifier Richard Billingham and Maartje Van Den Heuvel, Curator Photography Special Collections Leiden University. Headline Image: Ashway Rocks, Saddleworth Moor, 2013 Words by: Justine Marklew Tags translating (10)Merchantry(2) careers (2) commissions (1) digital (1) exhibitions (1) funding (4) interview (4) law (1) lightbox (1) Popular Posts Posted 23 February 2015 Photography is the most important visual art Posted 9 January 2015 A letter to Birmingham City Council Posted 25 November 2014 Redeye member James Parker interviews Photomonth Director Maggie Pinhorn Posted 2 December 2014 Hackney Museum - Strike a Pose: Portraits from a Hackney Studio Posted 16 December 2014 Into the woebegone – part 2 of Simon Bowcock's Paris review Recent PostsIncreasinglyPosts Posted 28 August 2018 Spotlight on: Matthew Murray Posted 24 July 2018 Redeye Talent: David Gleave Posted 4 June 2018 Mother River KickStarter by Yan Wang PrestonIncreasinglyOpinions → Blog An interview with Denis Thorpe Posted 11 September 2018 It’s 70 years since the unconfined photojournalist Denis Thorpe started working in newspapers. He celebrates this year-end with a new exhibition and book, both tabbed A View from the North. Redeye’s Paul Herrmann talked to him well-nigh his career. “It was fantastic to have started with this small camera and with it unquestionably get that moment in time. The thrill, the satisfaction, to be worldly-wise to capture undercurrent and emotion plane in dreary half-light…” - Denis Thorpe Remembering Nitin-Kumar Patel Posted 10 September 2018 We were very sad to learn of the death of Nitin-Kumar Patel, who served on Redeye’s workbench of directors from 2015 to 2017. He died on 27th August 2018 at the age of 56, without a three-month illness. Nitin began his working life as a youth and polity worker, then a probation officer and social worker. His natural flair for balance, fairness and public service saw him progress in the staff undertone for probation officers. He became National Chair of theUndertoneofWoebegoneProbation Officers in 2001, and then Vice Chair of the NationalUndertoneof Probation Officers.IncreasinglyPosts Posted 28 August 2018 Spotlight on: Matthew Murray Posted 24 July 2018 Redeye Talent: David Gleave Posted 4 June 2018 Mother River KickStarter by Yan Wang PrestonIncreasinglyOpinions → Useful Site Links Redeye Redeye Events BlogWell-nighJoin Make a Donation Contact Us Send Us Your Items to Include Send Feedback Website Credits Terms & Conditions Privacy & Cookie Policy Sitemap Subscribe to RSS Feeds News Programme Events Opinion Opportunities Exhibitions Supporting photographers, championing photography Redeye, Centre for Chinese Contemporary Art, Market Buildings, Thomas St, Manchester M4 1EU, UK © 2010–2018 Redeye The Photography Network