I’ve got nine pieces in the Biscuit Factory’s winter exhibition this year.
The private view is Friday 27th November.
The Biscuit Factory, Stoddart Street, Newcastle upon Tyne, NE2 1AN

I revisited my earlier series of dresses designed by my father. I rather like this sepia version.

After my photo session with Elizabeth Willow she recomended me to Steve Boyland. Steve is an “improvised voice” artist. That is, he sings using the full range of the human voice, in what might be described as a classical  or operatic manner, but not with words just the musical resonance of his vocal ability. The music is always improvised in response to the environment, the acoustics of the room, the mood of the moment.

I spent an hour photographing him in and around the studios in the Bluecoat, Liverpool. Whilst I snapped away and asked questions, he talked and burst into an impromptu performance.

My portrait of Elizabeth Willow and some of her work installed for the Liverpool Art Prize

As part of my sponsorship of the Liverpool Art Prize I am photographing some of the participating artists. This one didn’t end up being used but I still like it.

Sarah said… ‘they remind you of women, playing with the camera, acting like models’

Liverpool University asked me to photograph Lord Owen at their Degree ceremony held in Chester Cathedral, for students who attended the university’s Chester campus.

I was ushered into a side chapel, that had been set aside as a robing room, to set up for my pictures. I knew Lord Owen was on a tight schedule and I’d only have a few minutes to get the shots. Fine, that’s so often the case that you have that in mind as soon as the job is booked in. What they didn’t tell me… was that 40 other people in robes where following him into the chapel to dis-robe too! Fortunately my back was to this audience… and Lord Owen kept a straight face almost the whole time whilst they were held back and I got my shots.

My book jacket for Jojo Moyes’ novel ‘Foreign Fruit’ has just hit the bookshop shelves.
The dress featured in the image was designed by my father in about 1959. I was so pleased to be able get a credit for his design included on the cover.

I flew back in to London from Bordeaux in the morning and crashed out for a while before heading into town for the opening. Gatwick is a nightmare. It seems you have to walk from one end to another and then get a train back to the place you first started from in order to get anywhere. And the signage doesn’t really tell you if its worth heading in the direction its pointing.

Being a little while since I’d last been to an opening of one of my own exhibitions, I’d forgotten what it’s like. But now I realise how much I miss it. My images are the first ones as you enter the gallery. I hope that’s good, I don’t know. It was excellent to have friends who I haven’t seen for a while and family there to share the evening.
Exhibition runs from 1st – 29th July 2005 at the Medici Gallery, Cork Street, London.
link: medicigallery.co.uk

An email arrived asking if I would be interested taking part in an exibition at a Cork Street gallery!
Well I went to see Jenny at the gallery this Monday and yes I have three pieces in their first ever photography show this coming July.

Yay! Ed’s in Mayfair!

I’m chuffed to be in issue 39 of Camera Austria. They chose the key piece ‘Is She: Is She’ in my series of Polaroid matrices.

Its quite a prestigious international  fine art magazine. There’s a number of other artists in there, including Jeff Koons.

A few sample covers from the series of 14 jazz LP/CDs I was commissioned to do for CODA Records.

click to enlarge

Martin Parr approached me to print his images for the book of The Last Resort. Although already produced as an exhibition, when they put them to press a couple worked but the others weren’t doing well in reproduction. Martin found out about me asI had already produced gallery work for some other artists. So I asked if he wanted me to reproduce anything about the existing images, or if not what guidance did he want to give me… his instruction was ‘what you see is what I see’. I didn’t actually get to see the original prints, so I was coming fresh to the work. There was a heck of a lot of dodging and shading, pushing parts of the image back, pulling some forward. I made at least four work prints for each image (let alone all the sample tests and colour consistency checks) before I was satisfied with the finished result. The work was done in batches to quite short deadlines… and there was quite a lot of coffee and beer involved often working till four in the morning. So in the book* you’re getting Martin’s incredible work through my eyes and hands.

[*other than the couple included before I stepped in]