Siloquies and Soliloquies on Death Life and Other Interludes is reviewed in 1000words magazine

7 February 2017

Daniel C. Blight makes a poignant analysis and reflection on Edgar Martins’ Siloquies and Soliloquies on Death, Life and Other Interludes. Read the article here.

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The Missing Years

Edgar Martins

This dypthic was produced in the context of the artist’s latest project What Photography & Incarceration have in Common with an Empty Vase, a project which results from a collaboration with inmates, incarcerated in the West Midlands, their families and a myriad of other individuals and community groups in the region.

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The Missing Years

From the series What Photography & Incarceration have in Common with an Empty Vase I Edition 3/3

£4,750.00 Add to basket

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Edgar Martins, Peter D. Osborne

In 2014 Edgar Martins approached BMW with a simple idea: to stop the production lines in order to photograph Plant Munich. Although the project surveys on the surface the fabrication, tooling and assembly of the modern era automobile vehicle, it also represents a point of resistance: to the world of flux and flow that we live in, to a world haunted by mobility, transience and uncertainty.

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£50.00 Add to basket

Unavailable

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Grandma

Elena Helfrecht

Grandma (2018), by Elena Helfrecht, is from her ongoing series“Plexus”, a photographic study of still lives that emerge from inherited trauma and post-memory, following the death of the artist’s grandmother. Through this series the artist reconnects the fragmentary history of her female lineage and confronts a past spanning across four generations, examining ideas around post-memory, mental health, war, and history.

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Grandma

From the series Plexus I Edition 1/3 I Artistic Practice Support Print Sales Program #3

£2,000.00

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When Light Casts no Shadow

Edgar Martins, Gerry Badger

This project was developed in some of the most interesting airports in Europe with a key role in history (the Azores, for example, was a compulsory stop for transatlantic flights prior to 1970 and a military base in both World Wars).
Almost all the images were produced at night, using an 8×20″ or 8×10″ camera as well as the aprons’ floodlights, moonlight, long or double exposures of between ten minutes to two hours. Sky and ground merge in darkness with only the lights and airport hieroglyphics to orient us.

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When Light Casts no Shadow

£35.00 Add to basket

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