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Crossing the divide between pure photography and a more sumptuous feel. While some of the subject matter is inspired by old style street photography other pieces drift into a more abstract style.

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Most of the subject matter was collected on travels in an 1976 VW camper. Traveling thru France, Spain Morocco and Portugal. Using a variety of cameras 4×5 Holga and 35mm. Reproduced then in a number of different ways to produce a diverse show.

The post CAMPER MEMORIES AND OTHER THINGS [2006] appeared first on Alice Beresford.

First introduction of etching as a tool to show work.

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A journey through 4 states 2011

Works printed onto aluminium and use of neon lighting to frame and illuminate. All are rooted in Americana, images lifted from streetscapes encountered during travels made in the last two years through Hawaii, California, Nevada, Utah, Arizona and New York. Incorporated her penchant for neon into classic images (“pushing the familiar but allowing the viewer to have a real sense of space and place”) were also shown in Visual Carlow 2012.

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These works pay homage to a desolate yet stimulating urban landscape, as captured by an artist whose palette is influenced by the ultra rural, the lush green countryside of the Wicklow Mountains in Ireland.

The high-rise building, its architectural detail, be it a decorative air vent or a graphic concrete façade, its layered practical and cultural additions (barbed wire, the wire mesh, the graffiti), its topography in the various warehouse districts of DTLA, and the factory output from them (flowers, fashion), take centre stage in a new body of work presented by photographer Alice Beresford.

The artist spent 3 months living in the downtown area of Los Angeles, armed with a camera and a bicycle for transport (in a town built for cars), the artist was able to get close to, and capture unaware, the subject that is DTLA.

Being a foreigner in this land brings a sense of alienation to these works, and a fresh pair of eyes searching for something familiar sees details that might not be observed by a local. In a burnt out and bleak landscape, where the blue of the sky is sometimes the only colour, the graffiti draws the artist to it, to its hues and its humour, as do flowers or fabrics. The architecture is then given a canvas upon which to be screenprinted. By combining two photographic images this experimental work was enabled by the artist’s residency in a completely unique way.

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I did not have a preconceived idea of where my trip was going to take me visually. I just knew that I was going to go overland by rail with my Mamiya 7 and a bag full of black and white film. Stopping in big cities, hoping to encounter vibrant cultures that make up the essence of the continent of Europe. Once in these cities, I found that their major tourist attractions related to the wars and oppressions of the 20th Century. As I travelled eastward it went from scars caused by World War 1, to World War 2 then to Communism. I passed thru many countries that had been changed due their membership of the European Union and others that had not embraced the idea of Europeanism at all. All are now being affected by the migration from countries to the east and south that are in deep conflict. The migration, I missed witnessing first hand by months. It is reminder however, how Europe as a continent, has thru the centuries been witness to great movements of people, as well as changes of land borders. It is and always will be a continent that is in constant flux.

The post SCAR LINES [2016] appeared first on Alice Beresford.

Utilizing a wide range of cameras from 35mm, medium and large format, and Holga. Straight darkroom printing, photo etching and screen-printing along with mirror and neon have been used to convey my final vision for the each piece.

Influenced by what surrounds me. Be it buildings, graffiti, the bright city lights,or the vegetation of my present rural life. All have given me the subject matter for my work over the last 20 years.

(With the space being small , bigger pieces were not used)

The post A Trip Down Memory Lane [A Retrospective 2016] appeared first on Alice Beresford.

For its 6th instalment The Horse is happy to announce Dialectic Visions. An exploration of the landscape and its implication within art, seen through the work of 3 Ireland based artists: Alice Beresford, Mel Galley and Diaa Lagan.
A landscape is many things to humans, primarily it is home, the open living room, the kitchen, the bedroom, the stage, the earth. Landscapes are unavoidable, both as a subject for art-making and for their ubiquitous presence in our lives, because of their inescapability they are consistently intertwined with memory and the human experience. Dialectic Visions examines a spectrum of context of its role as a subject.
Alice Beresford’s photographic landscapes operate a similar intimate role related to her practice. Based in County Wicklow, Beresford shoots very particular places within her daily local environment. Utilizing analogue cameras and printing techniques, the final photographs are collages of time, succeeded through revisiting these vistas over periods of months and years, hanging older captures within the landscape and documenting the result. The works offer questions about doubling and fractal bonds with nature through specific places and things.
Memory (Past and future) requires the theatre of landscape for its manifestation. Landscapes are slow moving, slow changing, in the human life-scale at least.

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In July 2020 when Ireland had come out of a strict lockdown due to the Global pandemic. I jumped into my 1976 Vw Camper Van, along with my trusty co-pilot Riggins and headed to the West Coast of Ireland. My first stop was Castlegregory. It was here that the genesis of Hill Coast started. I took detailed shots of the shoreline. The idea that it is sometimes hard to tell if they were in fact close-up details or taken from high in the sky. Over the course of that summer when we were free to roam, I traveled the west coast from Cork to Sligo. The summer ended and so did our freedom. We were in lock down again. Confined to 5 km from your house I took to the hills and started taking pictures on my walks. Drawn to the same subject matter I started to notice similarities in shapes and patterns that I had seen at the coast. The fact that the hills are only between 500- 900 metres above sea level it was perhaps not a huge surprise. However, the sandstone and limestone of the coast became the granite of the hills. Seaweed became moss and lichen had different hues. These images I took in the Wicklow Hills and on the West coast (Brittas Bay in Co Wicklow is the sole representative of the East coast) form the basis of this book. A comparison piece. Hill left, Coast right. A book was always the end goal.Having taken the shots on an iPhone I didn’t want them to go over a certain size.From creation to completion, it has given me great joy especially to be able to appreciate the land in which I live.

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