It’s been a great first weekend with the Woodyard Group for Cambridge Open Studios 2018. Thanks to everyone who came to see our work and say hello. As a reminder, we are exhibiting again next weekend, July 21-22, in the same place: The Woodyard, Cheddar’s Lane, Cambridge CB5 8LD. With 9 local artists and makers together in one place, there’s plenty to see: jewellery, bespoke furniture, stone sculptures, sound art/design, painting and photography. Above is a picture of my stall this weekend, featuring prints from my previous exhibitions, as well as new work from Iceland and Scotland, greetings cards and my recent self-published photo book, The Limes.
I'll be participating in this year's Cambridge Open Studios with 8 other local artists and makers at The Woodyard, Cheddars Lane, CB5 8LD on July 14/15 and 21/22. I'll be there with prints from my recent exhibitions and projects, as well as greetings cards and copies of my photo book The Limes. Come and say hello if you're in the area.
The official Cambridge Open Studios 2018 guide can be downloaded here. Physical copies are available from various outlets around Cambridgeshire throughout June and July. It's a great way to discover the art being made all around the county, to see the spaces where the work is made and meet the makers themselves. It's well worth planning for a fun day out.
For several months now I've been working on a project based around a dilapidated family home which belonged to my great uncle. The Limes explores the lives of a close-knit family over the course of a century in the Cambridgeshire fens, considering how their story relates to wider concerns and changes in the way people live and work in rural Britain. It is also an investigation into a specific area of my family history. The work combines my photography of the house, in its present state of disrepair, with archival family photographs and letters.
I have self-published a first edition limited to a small number of copies, which I'll be distributing over the next few months. If you are interested in seeing or owning a copy, or would just like to know more, please feel free to get in touch.
UPDATE: The Limes can now be purchased online via this link.
Harold Offeh is an artist working in the spheres of performance, event, collaboration and participation. He lives in Cambridge and has recently collaborated with Kettle's Yard and members of the North Cambridge community as part of the Open House project. He also works as a reader in Fine Art at Leeds Beckett University. I first met Harold at an event I photographed for Kettle's Yard towards the end of his Open House residency, and invited him to participate in my studio visit series.
Like many of the artists I've known in this area, Harold's studio is in fact a spare room in his house devoted to his art-making and research-gathering processes. In this room he stores art books, collects inspirations and keeps records of the many projects he's worked on in his career so far. His desk sits by a window overlooking the garden of the house he shares with his partner in North Cambridge, close to the community he collaborated with as part of his Open House residency. Harold welcomed me in and made coffee for us both, and I took photographs as we chatted about some of the themes and ideas behind his work.
One of Harold's recent projects is an extension of one of his key works, his Covers project, for which he re-enacted classic album sleeve photographs of the 1970s and 80s. Taking this idea to a more specific point of inquiry, he produced a series of self-portraits - while on another residency at Cambridgeshire's Wysing Arts Centre - in which he assumed a pose often associated with album covers of black male artists in a repose or lounging position. He photographed himself in this pose in a variety of rural environments, thereby exploring and re-contextualising this particular kind of representation in a contemporary art context.
Harold showed me some of the album covers he'd found during his research which conformed to this trope of an era of popular musical history. I detect a sense of humour in the way Harold has extracted a recurring motif and placed it in a different context, and in a different time. At the same time, I sense a kind of critical detachment in Harold's portrayal of the subject, and wondered if there was more to his investigation than simply a comic interpretation. In this respect I felt out of my depth, so I asked Harold to explain further:
"The series Lounging is an extension of an ongoing project called Covers. Covers has taken as its starting point depictions of black singers from the 1970s as presented on their album sleeves. I'm interested in how the album sleeve functions as a piece of design that serves to communicate and market an identity. Looking back historically, I'm interested in how these artefacts reflect debates and discussions about identity and self representation. In my approach of re-staging the images I'm interested in how copying the original image might open up an experience of the history of the image. The comic element happens in the failure of my version to emulate the original image. I also want my version to direct people to the original."
One recurring feature of artists' studios which always interests me is their collections of things. Unfinished works, works by other artists, books, scrapbooks, sketchbooks, and all the things an artist has deemed worthy of possession. I asked Harold if he could show me any examples of items in his studio which had inspired him in some way. Harold reached for a brown paper package, which was stowed away between books on his shelves, and began to unwrap a carved brick, which apparently had not been opened since he first acquired it. The brick, it turned out, was produced by a Thai artist named Rirkrit Tiravanija. Harold picked one up at the Venice Biennale in 2015 for €10; the money, he told me, would go to Chinese workers.
We also talked about what it's like to live in Cambridge as a practising artist. Harold was born in Ghana, and grew up in London, and he originally moved to Cambridge three years ago to live with his partner, who works at the University. "My relationship to the city has very slowly evolved," he says. "Culturally Cambridge is quite a hard place to navigate. There is a lot going on but you have to access certain networks, to access the information and people." For Harold, "things shifted last year when I made a strategic effort to work with arts organisations in the city. This allowed me to meet and establish dialogues with some amazing people. It's much easier to do that in Cambridge than in London."
We talked a little about the different layers of the Cambridge community. The obvious and often cited distinction is between the 'town and gown' - the general public and those who are affiliated with the University. A third, perhaps more recently developed science and technology sector also exists, with big companies building their offices and research facilities on the outskirts of the town. Obviously, the three co-exist and cross over at various points. The Open House programme run by Kettle's Yard is one example of an attempt to bridge the divide between Cambridge's more affluent and more economically deprived communities.
Harold's newest work is a performance piece for Kettle's Yard's latest exhibition: Actions. The image of the world can be different. His piece will take inspiration from documents found in the Kettle's Yard archive, in which Jim Ede had catalogued the objects kept around the house. "I came across Jim Ede's inventory while doing some research for the Open House residency. I really liked how the notes on the inventory told stories about the origins of the objects. Often these were anecdotes, but for me it opened up some interesting conversations about the function of objects. The objects seemed to be vessels for memories and history. In the performance I'm doing I'm treating the list as an archive. I'll be animating the objects by presenting them and displaying them. In all of my work I'm interested in how one might use the body as a research tool for exploring histories. It should be quite comic and perhaps chaotic."
Harold's performance will take place at Kettle's Yard on the 17th of March. For more information, and to book tickets, visit the event page on the Kettle's Yard website.
As the light of 2017 was fading, I paid a visit to Cambridge-based artist Cathy Parker at her home and studio, to make some photographs for a blog feature. I had met her a few months earlier in the same place, during Cambridge Open Studios in the summer. Aside from her studio being a dream space for painting and art-making, I was drawn to Cathy's work by her commitment to the subjects of nature and the landscape.
Cathy works primarily by sketching in the open landscapes of East Anglia, and often further afield, before producing semi-abstracted paintings in her studio which are based upon those sketches. As she explains, "I have two ways of working: outdoors in front of the subject, usually producing more naturalistic work; and in the studio, usually producing semi-abstracted works. Outdoors, whether I am on familiar territory or further afield, I enjoy a straight-forward approach to drawing and painting, filling sketchbooks, responding to the forms and colours of the landscape along with the changes of light and weather." In Cathy's studio are shelves of sketchbooks dating back to the early 1990s. While she is obviously very much inspired by the landscapes near her home, labels on the spines of her sketchbooks reveal explorations of more exotic climes: Greece, Morocco, India, Nepal.
These quick field sketches and paintings provide an intermediary between Cathy's experience of being out in the landscape, and the paintings she will go on to make back in her studio. She says, "in a series of steps, I gradually abstract and simplify, away from the 'reality' of my original depiction, towards something else. This process may takes hours, days or weeks."
Cathy says that "trees provide an endlessly stimulating subject. For one thing, they provide much-needed verticals in the very horizontal East Anglian landscape. Moreover, for me, in painting trees naturalistically, I am inevitably already simplifying and abstracting, in the sense that I do not attempt (or even want) to depict every twig and leaf."
Creating abstracted paintings based upon more realistic sketches is, for Cathy, a process of simplification. However, she says, "what is difficult is simplifying while retaining the quality that originally inspired me, the feel of the original subject, if I'm lucky something approaching the essence." As she explains, on the subject of trees, she may have been drawn by "perhaps, the bright colour of the Scots Pine bark against a blue sky, or the sense of air and wind blowing through the branches and leaves, or the energy of the tree as a growing structure supporting huge spreading leaf-laden branches." Energy and movement, in terms of direction and also vibrancy of colour, is something I can clearly see in her paintings of trees.
I asked Cathy, "how did you develop such an enduring interest in nature and the landscape? Where does this stem from, and how, or why, is your interest sustained in this subject?"
Cathy replied, "I grew up in a small town in Suffolk. I grew up with artwork in the house - my great grandmother was an artist, who painted, as Mabel Parker, and made etchings under the name of M Oliver Rae, to hide the fact that she was a woman artist, which made her work more difficult to sell. I've always loved the countryside, especially the sandy heaths and the characteristic twisted Scots Pines of the Suffolk Breckland. I'm interested in wildlife, especially birds and wild flowers, and when I go out painting, I always take my walking boots and my binoculars. When I'm sitting or standing relatively still and quiet at my easel, wildlife starts to happen around me, and I see more than I might do when I'm on the move in the countryside, so painting outdoors gives me the pleasure of taking time to enjoy the countryside slowly and at length."
Hearing Cathy talk passionately about the East Anglian landscapes she frequents reminds me that there are some beautiful places in this area, and across the UK, to explore and be inspired by. It also reminds me that a love of the natural world is something to hold on to dearly, no matter how engrossed I may become in my city life, in work, or watching scenery fly past from a commuter train. Cathy says her process of painting in the studio "is endlessly challenging, the result is sometimes unpredictable and with luck can be satisfying, and it is occasionally thrilling." Perhaps the same can be said of any adventure in the great outdoors.
To see more of Cathy's work, have a look at her website: http://www.cathyparker.co.uk/
Over the second weekend in December I took part in a Cambridge Open Studios event with a group of local artists at The Woodyard on Cheddars Lane, Cambridge. My stall had greetings cards and limited edition prints for sale, some of which can be purchased online via my Print Shop.
I also now have an Etsy store for greetings cards, which are newly available to buy online. They cost £2.50 each, and any orders of 5 items or more qualify for a 20% discount, effectively meaning one card in every 5 is free.
I will be showing the results of my first MA project in a one-day group exhibition on the University of Westminster campus in Harrow, London. An investigation into museum storage spaces led me to a collection of Paleolithic stone tools which were excavated by Dorothy Garrod and the British School of Archaeology in Jerusalem in the late 1920s and 1930s around Mount Carmel, in what was then Palestine. Some of the objects which were unearthed there are now held in storage at the Museum of Archaeology and Anthropology in Cambridge, where I produced my photographs. My installation also includes a selection of Dorothy Garrod's original fieldwork photographs, reproduced by kind permission of the Pitt Rivers Museum in Oxford. I will hopefully be able to share more of this work in due course.
Last night we installed my latest exhibition at the Edge Café on Mill Road, Cambridge. Level Ground is a new series of large format, black and white pinhole photographs featuring local scenes and landmarks during the transition between winter, spring and summer. In this way, the photography relates to the recovery theme of the venue, situated on the Brookfields Hospital site.
A private view will be held between 7-9pm on Tuesday 11th July at the Edge Café, 351 Mill Road, Cambridge. Local poet Victoria Simms will be reading two new poems written in response to the themes of the exhibition and venue. Teas, coffees and cakes as well as a selection of greetings cards will be available to buy. Please note that as the Edge Café is a community recovery hub providing respite and support to people recovering from alcohol and drug dependencies, no alcohol will be served at this event. Please join the Facebook event page if you are interested in attending.
I am happy to announce that a new exhibition of my photography will be opening at The Edge Café in Cambridge this July. I have been working on this during the past few months, visiting sites around Cambridge to make long exposures with a large format pinhole camera.
The process involves using a camera which can only take one sheet of film at a time, and must be unloaded and reloaded in a light-sealed bag with each photograph. As the pinhole lets in only a small amount of light, every photograph taken with this camera must be a long exposure, ranging from just a few seconds up to a minute or more. As such, any movement within the frame, including passing traffic, running water or moving foliage, will become a blur, sometimes disappearing completely.
The capturing of an extended moment in time, as well as the gradual seasonal change between winter and spring, relates to the theme and process of recovery, which is the central concern of the venue for this exhibition, the recently opened Edge Café on Mill Road. The Edge Café is a local community recovery hub, providing "a beautiful, safe, warm, drug & alcohol free space and community to anchor people in the sustained recovery they need to gain and maintain access to housing, social & health services, healthy relationships, education and employment."
A private view of the exhibition will be held on the 11th of July. Details will be shared in due course via social media. The exhibition will be open to the public during normal café opening hours, from 10th July - 2nd September. For any further information, please get in touch.
Last night we installed Land, Sea and Sky: Photographs from the Shetland Islands at Hot Numbers Coffee, Gwydir Street, Cambridge. The exhibition opens today and will run until the 26th of February. This will be my first solo exhibition in Cambridge, and features a new series of black and white photographs which have not been previously published online.
I'm really pleased with how it looks, and Hot Numbers is a beautiful space to exhibit in. We started planning this exhibition almost a year ago, beginning with over 3,000 raw photographs taken in the Shetland Islands in 2015. All prints in the show will be available to buy in limited editions of 25 each, and there will be a selection of greetings cards available online soon.
In two weeks a new exhibition of my work will be opening in Cambridge.
Land, Sea and Sky: Photographs from the Shetland Islands runs from the 24th of January until the 26th of February at Hot Numbers Coffee, Gwydir Street, Cambridge UK.
Presenting a series of photographs exploring themes of isolation and the transient atmospheric states of an environment which is continually changing. This exhibition invites the audience to consider the meditative sensory experience of the great outdoors, through a series of atmospheric photographs depicting the land, sea and sky of the Shetland Islands.
There will be an exhibition preview on Tuesday 24th January from 7-9pm. Please RSVP to firstname.lastname@example.org by Friday 20th January.
For more information visit http://hotnumberscoffee.co.uk/gallery-1/
Robert Good is an artist and the chairperson of Art Language Location; a contemporary and performance art festival based in and around Cambridge, UK. A few months ago I visited him at his home to see where and how he produces his text-based pieces. This blog post contextualises the photographs I took with a brief conversation on Robert's art and his ways of making it.
JM: To start: I notice that collecting seems to be a common theme in your work and in the process behind it. Could you elaborate on this?
RG: I think for me it is all about trying to make sense of things and collecting is perhaps a good strategy here. Not so much the accumulation of stuff for its own sake (tho I am interested in that aspect as well) but maybe more because multiples of anything provide the chance to compare and contrast and so maybe to thereby arrive at some tentative answers. Or maybe 'answers' is too strong a word; 'pointers' might be better.
So, is there something you find those pointers frequently allude to?
Well often I’m looking for rhythms, cadences, patterns and so on in the subject matter that I’m exploring and hoping that if I present back some aspect of the material in these terms then insights or pointers towards an understanding will emerge from the configurations created. So for example with my Pelican portraits I’m hoping that the repetition of an authorial image and a descriptive word taken from their biography provides a starting point for thinking about those authors and their endeavours. The artwork thus frames the debate so to speak and becomes a catalyst for a conversation about what is being presented. But beyond that, the trail runs cold: each conversation is different, each conclusion is different, and each response is different to every other. Perhaps that’s why I’m wary of thinking in terms of ‘answers’!
That makes sense. It seems to me like you have found a clever balance between appropriation, originality, humour and aesthetics. How did you come around to working in this way, and to working specifically with text - was there a time when you experimented with other ways of making art and being an artist?
Well thanks, I think you are spot on - those four elements that you identify in my work are all central to what I am trying to do. ‘Clever’ is ok too (thank you!), and in fact that is also a very astute word to choose, because I do try to be careful that my work doesn’t sometimes tip over into ‘clever clever’, which is not so good.
As to how I came to this point in my work, well as with most artists (I suspect) it has been a long process of excavation and discovery (I am trying very hard not to use the word ‘journey’). But two moments spring to mind. The first is when I used to be a painter and painted in a flat, bright, cartoon style. One day I remember thinking ‘this painting won’t be complete without some words in it’. I have no idea where that thought came from, but it seemed important, and I decided to follow it further. The second was at the start of my MFA studies at ARU [Anglia Ruskin University] when I was asked why I chose to paint. I loved painting but it made me realise that everything is a potential material: there is so much stuff around us just waiting to be turned into an artwork that suddenly paint just didn’t seem so exciting any more. Then the problem became what to choose out of all this stuff, and I gradually came to realise that problems with words and knowledge was what I really wanted to grapple with.
It is interesting how you describe them as ‘problems’.
Well for me, words are problematic! They are the best we have but not enough, and that is both their power and my frustration. So by putting them into new contexts I try to examine their meanings and potentiality.
A lot of the pieces you showed me also seek to re-contextualise words and phrases, or as in the case of your collection of the ‘Anxiety and Neurosis’ Pelican book, entire published works. I think that is where a lot of the humour comes in.
I’m glad it made you smile: humour is like a divining rod - if we laugh, we are doing so because of some underlying discomfort, and that is frequently enlightening. That is where the bodies are buried.
My one hundred or so copies (so far) of 'Anxiety and Neurosis' enable me to examine one aspect of accumulation as a strategy: is collecting just a safety net, a comfort zone against a deeper disquiet?
Another good example of this would be your collection of definitions of art trawled from the internet. ‘Art’ seems like a great choice of word, particularly as its meaning, or more specifically what constitutes art, is so often argued about and so open to individual interpretation. Would you mind sharing a bit more about this project, what you intend to do with it, and what you have learned about the meaning of art after reading all those definitions?
Yes so far I have around 3,000 definitions gathered from the internet. I’ve been listening in on conversations as people discuss what art is, can be and should be and I’ve been using automated searches to report back to me as well. The project originated from my frustrations with art theorists trying to tell me what art can and cannot be - surely the tail wagging the dog! The more I read, the more confused I became. I’m amazed at how passionate people are, as if ‘art’ is some sacred term that must be protected at all costs. So I am collating the definitions for a new Dictionary of Art which I hope to publish next year if I can find a publisher (‘art’ is the one term you will not find in dictionaries of art).
Thanks to my designer Jane Glennie it will look and feel just like a normal dictionary, but there will be only one term, ‘art', defined and redefined on page after page. Each definition has to fight it out with every other. Some are serious, some are scurrilous, many are amusing, and I’ve learned that art is all of these things combined. So it has been a very uplifting project, because it turns out that art is not one thing or the other, this or that, but everything together, a glorious cacophony of thoughts, ideas, techniques, approaches and discussions. And, whatever the theorists may try to tell us, that has got to be good, surely?
I think it could be quite liberating to realise that if art is so many things to so many people, it can be almost whatever you want it to be. I also sometimes wonder about the link between art and psychology, or perhaps even psychoanalysis. Often performance or participatory art pieces/events can feel a bit like strange psychological experiments where nobody really knows who or what is being put to test. Maybe that’s why a lot of people shy away from performance art?
Yes I think people can be disconcerted by experimental art because they feel that they ‘don’t get it’ whilst everyone else does. But the key is to not think of it as a test with a right and wrong answer, but as a spectacle to be experienced. Then you take away from it whatever you want (which may still sometimes be nothing!!).
Changing the subject slightly, I wanted to ask about how you work as an artist outside of London. Obviously there is a lot going on elsewhere in the UK, and you have also played your own part in making contemporary and performance art happen in Cambridge with Art Language Location (ALL). Do you think art is spreading out and becoming a less centralised thing, or has it always been like that?
This is a big topic! Yes ALL was definitely for me a means of connecting with the wider art world and making something happen in Cambridge rather than feeling that I was somehow ‘in the wrong place’. It has proved to be a wonderful way for me to meet fellow artists and to feel connected. So the bright lights of London can be very alluring but in fact in many ways it is probably quite healthy to not be making art there.
That’s a relief, and maybe I'd say it’s increasingly necessary. A lot of people believe it’s not possible to make a living as an artist (perhaps rightly, in most cases), and I’m interested in how some people make it work. Could you offer any advice to arts graduates who want to keep the ball rolling after they leave university, and on how to make it sustainable?
The best bit of advice I had was from a tutor who said that the only connection between art and money is that if you haven’t got any money then it becomes difficult to make art. Beyond that, everyone has to find their own relationship between the two. So for some people, selling their art and ‘making it pay’ is important; others have a day job to make ends meet. There are so many different ways in which people have approached this problem but the most important thing is to create an environment in which you can make your art on your own terms.
‘Being an artist’ and ‘making a living’ are not the same thing. ‘Being an artist’ is a state of mind and an approach to the world around us; once this is foremost, then everything else becomes secondary: still important (of course) but perhaps somehow less intimidating?
The analogy with football always works: the chances of becoming a professional footballer are very small but technically you don’t have to be paid in order to play football. Whether that makes you want to pursue it or not (and how you pursue it) is entirely up to you.
Thanks Robert. I think that’s a great point to end on.
Thanks so much for including me in your project!
Nina Fraser, an artist based in Lisbon, is currently inviting submissions of landscape photographs for her 30 Days, 30 Landscapes project, from which she is producing an original artwork for every day in September. I submitted a photograph I took in Whitby, a small coastal town in North Yorkshire, and was delighted to see Nina's response in the form of a hand-cut collage.
I'm excited to announce that I will have a print on display in this year's Shutter Hub OPEN exhibition in Cambridge. The exhibition is taking place between the 24th of June and the 24th of July in a number of venues around the city. There will also be talks, meet-ups and workshops for photographers. My work will be exhibited in Hot Numbers on Gwydir Street, easily one of my favourite coffee shops in town. There will be a private view at Hot Numbers on the 22nd of June to which you're welcome to come if you happen to be in Cambridge.
I'm really excited that an exhibition like this is happening in Cambridge and that I'm going to be a part of it. I will be showing a photograph I took in Cornwall recently of an old disused tin mine. For more on the exhibition and events, visit the Shutter Hub website, and see the flyer below:
Photograph © Kit Martin.
A few weeks ago I was invited to St. Paul's church in Cambridge for a one-off mini-Shindig event which was a kind of live rehearsal for an actual Shindig event happening in June. Shindig organiser Wesley Freeman-Smith, photographer (and this time piano player) Matt Widgery and poets Nikki Marrone, Tim Knight and Uppahar Subba met for a run through of poems, improvised music and a live video stream on Facebook. While that was going on, I was quietly taking photos of them doing their collective thing. Here are some of my favourites.
For more information on Shindig events in Cambridge, visit shindiggig.com.
Next up in my artists-in-studios series is Abi Palmer, a currently Cambridge based (soon to be London based) poet, writer and performer. She is part of the Cambridge arts event collective Shindig, whose recent show Tall Tales Lab(yrinth) featured her interactive poetry performance Alchemy, which in turn is now shortlisted for the 2016 Saboteur Awards in the best wildcard category. For Alchemy, Abi designed a set of poems to be read whilst engaging with, observing or otherwise experiencing one of the four primary classical elements: earth, air, fire and water.
Alchemy was my first experience of Abi's work, and I took away from it a small hand-decorated matchbox containing her contact details (pictured above). A couple of weeks and a few emails later, I visited Abi at her home in Cambridge to see where she works. In between chatting about the local arts scene and exhibition ideas, Abi showed me some of the things she's collected or made herself for her various projects. We also talked about how disability has influenced her work (Abi has written about living with a disability as a student for The Guardian) and how to avoid being pigeon-holed as an artist. A lot of Abi's poems come to fruition through use of cut-ups, and her many sketchbooks are filled with collages of found images and words, sharing the shelves in her workspace with books, ornaments and charity shop finds.
For more on Abi's work visit www.abipalmer.com. These images are copyright © 2016 Josh Murfitt. Please do not copy or reproduce them without prior consent.
I recently resurrected my Etsy shop and have been slowly adding new prints for sale. Giclée prints up to A3+ in size are made using a Canon Pixma Pro 10S printer which uses pigment-based inks, designed to produce more long-lasting and fade-resistant prints. I sign, number and date each print by the year of production.
A handful of limited edition prints are ready to buy now. They cost just £25 for an A3 print, or £20 for an 8x10" darkroom print, while stocks last. Coming soon are a selection of landscape prints from the Shetland islands, and other images from my archive of environmental photography.
If you would like to request a print of a specific image, please use the contact form on this website. Not all images I produce can be sold as prints, for various reasons, but where possible I will endeavour to meet any demands.
Loukas Morley is a Cambridge-based artist and designer who I met at a group exhibition in Cambridge in 2014. Since then I arranged to photograph Loukas as part of an ongoing project to document artists and the environments in which they work. Loukas kindly let me into his studio and workshop, where he produces some of his furniture designs and paintings, and there I saw some of the experimental and craft processes behind his work. He has recently worked with the Espresso Library in Cambridge and has a selection of works on show there at the moment. For more information on Loukas's work, see the links below.
The artwork reproductions pictured above are provided courtesy of Loukas Morley and are protected by copyright. All other photographs are copyright © Josh Murfitt 2015. Please do not copy or reproduce without permission.
I was recently asked to photograph an event at King's College Chapel, which is now 500 years old, if you go by the time the stonework was completed. The foundations were first laid in the 1440s, and it's still standing strong today. The event featured speakers, art installations and live organ music, with works by Robert Good, Susie Olczak, Patrice Moor, Charles Ogilvie and Ben Newton, and words by David Starkey, Dr Nicolette Zeeman, Jennifer Thorp and Viktor Wynd. It was arranged and hosted by Toby Young and King's Review.
Since graduating in 2013 I have produced studio photography of artworks - paintings, prints, drawings, sculptures and installations - for numerous individual artists and fine art students. For one example, here are Being Me II and Being Me III, which I photographed recently for Cambridgeshire-based sculptor Tom Hiscocks: