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Webber London

Webber London
18 Newman Street,
London W1T 1PE

+44 (0)20 7439 0678

Webber Gallery
18 Newman Street,
London W1T 1PE

Webber New York

Webber New York
401 Broadway, Suite 410,
New York, NY 10013

+1 212 343 7491


Unseen Thomas Albdorf Daniel Shea Mark Peckmezian Gregory Halpern 18.09–20.09.15

Thomas Albdorf, Daniel Shea, Mark Peckmezian, Gregory Halpern


Webber Gallery is proud to announce that we will be participating in the fourth edition of the Unseen Photo Fair in Amsterdam this September – the Gallery’s first appearance at an international art fair. As the commercial and fine art photographic worlds continue to merge, we are pleased to embrace this crossover by showcasing the work of four Webber artists working in both industries, who each explore a range of themes within contemporary photographic practice.

On the Webber stand will be images from Daniel Shea’s second monograph, Blisner, IL (2014), part of his project, Blisner. Shot in Illinois, the work considers the different forms, surfaces, architectural styles, and people of a post-industrial society and economy. Among the concerns Shea explores are the complexities of capitalism, the notion of history and authorship, and how the world can be both a beautiful and tragic place. By blurring fiction and reality, Shea challenges our perception of the document as ‘truth’ and encourages us to explore the image as an opportunity for discussion.

“This book is about reality and things that happened and continue to happen to people and place. What happens to Blisner over the course of the condensed chronology that the book passes through is based on events, documents and people who lived in south Chicago and southern Illinois in the last 100 years. ” – Daniel Shea.

In their collaborative project East of the Sun, West of the Moon, Gregory Halpern and Ahndraya Parlato made photographs during the 2012 and 2013 solstices and equinoxes. Taking its title from a Norwegian folk tale, the series loosely considers the notion of time – time of day, time of year – and touches on themes such as: birth, death, transition, renewal, lightness and darkness.

“We made the images wherever we happened to be – at home, travelling, or wherever we found ourselves on those four days of the year... We liked the idea of trying to rely on two continually shifting landmarks as navigational guides, how disorienting that idea is, and how it creates an elusive or impossible place” – Gregory Halpern and Ahndraya Parlato.

Webber will also show Halpern’s never before seen photographic sculptures of houses, which are incredibly intricate and detailed. He has also been invited by Unseen to host a talk on his work in the Unseen Living.

Also on the Webber stand at Unseen will be images by Austrian artist Thomas Albdorf from the forthcoming book, I Know I Will See What I Have Seen Before, published by Lodret Vandret. The work directly confronts the role of object and space within the photograph, and questions the way we interact with digital media. Through provocative and almost imperceptible digital manipulation Albdorf deconstructs our understanding of and dialogue with photographic objects and space, leading to images in which the artist himself e ectively sculpts everything within the frame.

“The work revolves around aspects of contemporary image production that have kept me busy during the last two years: appropriation, image-recontextualisation, digital alterations and the landscape as sculptural material... I have experimented with the landscape as a virtual space of probable desires, reflections and expectations, [and used] Google Street View, the inter- net, vintage books, and my own images taken in nature or the studio – arguably any possible image forms I could access or come up with – in the process” – Thomas Albdorf

Lastly we will be showing work by Mark Peckmezian from his ongoing series, Dogs – a body of work that celebrates photography for photography’s sake. In these images, Peckmezian, uses analogue photography to explore the nature of photographic portraiture and the relationships between subject, photographer and viewer. Integral to Peckmezian’s work, and indeed this project, is experimentation at the printing stage where the artist may use different paper stocks, rip the edges of a print, or embrace creases, folds and dust. Ordinarily Peckmezian’s portraits can be seen in the pages of high-end fashion magazines, but these images – shot with a touch of humour – o er an honest look at our canine companions and the enduring love we feel for them.

“With this project I practised photography simply for the joy of photography... It was a kind of sketchpad – somewhere I explored the logic and syntax of images. The work features dogs, but it is about photography. [The subject] could have been anything” – Mark Peckmezian.