Photofusion is pleased to present a solo exhibition by co-founder Gina Glover. Timed to coincide with Photo London, this exhibition features a selection of work from nearly four decades of Glover’s photographic practice, from her early years as a social documentary photographer to her more recent landscape investigations of the Anthropocene, the new scientific term for our current phase of human-directed planetary evolution.

In the late 70s and 80s, as joint founder of The Photo Co-op, Glover was one of a group of activist photographers during an era of social and political upheaval. Glover’s politically engaged focus on life drove her to document feminist movements, motherhood and family, housing and public health.

Triggered by her own health issues – arising during an assignment in Africa for British Red Cross and Oxfam – Glover began to explore the potential for photographic art to enliven healthcare environments. In exploring photography’s potential to construct a more meditative experience of visual form from 2000 Glover began to explore a slower, more abstract approach to her image making, experimenting with the use of the pinhole camera.

In so doing she uncovered for herself a means for conveying experience of the threshold points between our inner and outer worlds and a means for drawing attention to the more pensive qualities of human perception and questions of time and impermanence.

This exhibition is part of a summer of collaboration with the Museum of London, around their current exhibition “London Nights.” Anna Sparham, Curator Photographs at the Museum of London, selected the work of seven artists, including David Axelbank, Anthony Carr, Jan Enkelmann, Cordelia Grabbe, Caroline Jane Harris, Dee Ramadan, and Alex Stone.

These artists were selected from an open call, inviting photographers who work at night, to submit images for consideration.

We were open to the widest interpretation of the theme “Made In Brixton,” and the exhibition includes work that was photographed, printed and/or inspired by experiences in Brixton. The one thing all the work has in common is the backdrop of night, creating a frisson of excitement, as the darkness transforms familiar surroundings into something else.

Our next exhibition, ‘Interventions & Interruptions’ will open on September 26th. This exhibition will feature the work of four artists whose divergent individual practices, ranging from documentary photography to book-making, installation and still life, are all highly experimental.

The work on display will include an installation by Tom Pope that relies on motion-sensitive mechanisms to create images that essentially document the presence of the audience; Sue Ridge’s ethereal x-ray inventories of institutional archives; Aletheia Casey’s documentary series that, unusually for the genre, incorporates images made from heavily manipulated negatives; and Katie Bret Day’s experimental book, ‘Lacuna’.Katie Bret Day’s project ‘Lacuna’ explores human form, by experimenting with the materiality of the photographic process. Katie manipulates the structure of the conventional photobook through the process of reassembling, allowing for the representation of textures, dimensionality and materiality.

Aletheia Casey’s project ‘No Blood Stained the Wattle’ uses the violent conflicts and massacres of Tasmania’s colonisation to reflect on mythical telling and mis-telling of Australian history. The work examines the notion of historical forgetting and reflects on memory, national denial and loss by overlaying, scratching and re-working the photographic film to reflect the distortion of the history in Tasmania.