Phenomenology and Fascination are but two of several principals that draw people like Barry W. Hughes to Photography. There is also a resistance to the chaos of this world and its own laws of rational navigation; through which systematic measurement of things, places, and possibilities become much of the fabric that photography seeks to harness through its fixing of elements that comprise what we think of as an image.
In N.E.O.P (Near-Earth Object Program), Hughes catalogues and reviews a series of tableaux that become object-based systems for corollary understanding of our universe. He scales, relates, and measures a whole taxonomy of potential objects and diagrams the images with a precision found in the annals of scientific image rendering. Clever not to give full disclosure to the potentials of desire and fascination before the camera by way of definitive titles, the photographs become potential vehicles for our imagination rather than an absolute catalogue of actualities, which would render their interpretive value as grotesquely defined.
Within the work, form and function present possibilities that expand and collapse to serve our need for the acquisition of creative data control and image interlocution, making for the mapping and control of the heaven’s that much closer through pure imaginative phenomenon.
- foreword by Brad Feuerhelm
AETHER, Jarvis Dooney Galerie, Berlin. Group. 2016
Lumen, The Crypt Gallery, London, UK. Group. 2014
NEOP, The Library Project, Dublin, Ireland. Solo. 2014
Contact Light, ARTicle Gallery, Birmingham, UK. Group. 2014
Of The Afternoon Issue 5 group exhibition, Vyner Street Gallery (London), UK. Group. 2014
Of The Afternoon Issue 5 group exhibition, Twenty Twenty Two (Manchester), UK. Group. 2014
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