THE ART OF BARRY CAWSTON

 

"Recipient of numerous awards, including the ᅠPresident’s Award at the RWA ᅠOpen Photography Exhibition, Cawston exhibits widely at prestigious galleries and art fairs and his fine art photographs are now held in several notable public and private collections. His work demonstrates that in the hands of an artist of talent, photography can be a powerfully expressive medium able to create art of great beauty andᅠ to transmute the ordinary into the unexpected. Shot on a large format camera, Cawston’s images, whether landscape or cityscape, interior or figurative, display a fascination with shape, pattern, colour and texture and, coupled with metaphor and association, the poetry which these qualities can often suggest. Taken as a whole, his work seems to express an almost visceral response to the visual world."

- Hugh Mooney ART Magazine

 

THE BEAUTIFUL AND CONDEMNED

 

Barry Cawston’s images of abandoned buildings capture an eerie allure

 

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There’s something very American about Barry Cawston’s photographs. It’s odd, really, since none were taken in the US; instead they feature scenes from Italy, Cuba, Mexico, Brazil – even Bristol. Yet, be it in the contrasting colours of a Havana pool, the perfect clapboards of an Avonmouth cottage, or the crooked hat of a Tibetan cowboy, Cawston’s images recall both the New World melancholy of Edward Hopper and the dazzling modernity of David Hockney’s Berkeley days.

 

Cawston began his career in the early 1990s. With a degree in sociology and a diploma in photography, he freelanced while nurturing his interest in fine art. Winner of the Exeter Contemporary Open and the Chairman’s Choice Award at the RWA Photographic Open, he worked with a friend Al Deane under the collective pseudonym Boris Baggs to photograph a series of English Heritage projects for their Buildings @ Risk Campaigns. Since then, he has opened the Drugstore Gallery in Axbridge, Somerset and exhibited around the world. Frequently, he says, admirers note the ghosts of ᅠpainters past in his subjects: “It all began with the photo of the pool. I just stumbled across it after waking up one morning and thought: that is a photographic version of a Hockney painting. Had I been an hour later, or an hour earlier, it would have been totally different."

 

Though occasionally dabbling in digital photography, most of his work is done using a Wista Field camera, complete with hood, wooden tripod and bellows. “To an extent what I do is social documentation,” he says. Often it’s the picture or event that is in control not the photographer. I’ve experienced that many times.”

 

 - Alice-Azania Jarvis for the Independent Newspaper