Klompching Gallery is delighted to announce its third solo
exhibition, of work by British photographer Simon Roberts.
There will be an Artist Reception on Thursday, November 7, 6pm–8pm.
Photographed over the course of the past three years, Pierdom is a
comprehensive and stunning survey of Britain’s 19th Century pleasure
piers. With Pierdom, Roberts has turned his camera to the specific
architectural remnants that bear witness to leisure of the past. Built
along the coastline of Britain, these piers were originally constructed
as landing docks for pleasure steamers, but progressively catered to
the needs of seaside day-trippers, who were escaping the grime and
smog of the cities. In their heyday, the ‘pleasure piers’ incorporated
cafes, casinos, theaters and even tramways. The large-scale color
photographs are often made from elevated positions—a trademark
of Roberts’ oeuvre—and with the use of large-format sheet film. The
photographer has meticulously utilized formal devices associated with
the picturesque—asymmetry, perspective and juxtaposition—resulting
in an outstanding body of work that celebrates color, form and detail.
From minimalist photographs such as Weston-Super-Mare Grand and
Clevedon B, that demonstrate a quiet palette, photographs that pop with
color such as Blackpool South, Teignmouth and Paignton, to those such as
Saltburn-on-Sea, that provide an important social and historical context,
the Pierdom series is a truly accomplished body of work that speaks to
a wide audience.
This is a must-see exhibition, and is accompanied by the publication
Pierdom (Dewi Lewis, 2013).
Simon Roberts (b.1974), lives and works in Brighton, UK. He was
awarded a BA Hons Degree in Human Geography (1996), which has
informed much of his photographic practice. He has won numerous
awards for his work, which explores important social, economic and
political issues. His photographs have been exhibited widely, including
solo exhibitions at the National Media Museum (UK), Museum of
Contemporary Photography, Chicago and Museum of Contemporary
Art, Shanghai. His first two significant bodies of work, Motherland and
We English, were received to critical acclaim, published as monographs
by Chris Boot Ltd. and shown as solo exhibitions at the Klompching
Gallery in 2007 and 2009 respectively. His work is represented in major
public and private collections, including the Deutsche Börse Art
Collection, George Eastman House, Pallant House and Wilson Centre