When looking for information about David Emmit-Adams, I discovered this gallery. They specialise in 19th century photographic and alternative processes and recently exhibited David’s Arizon desert project. I sent them a couple of emails and did a quick search about some of the other work that is on display there, what I couldn’t find out was whether or not I would be able to see some of David’s work. After exchanging a few emails with David himself, he recommended this as a great gallery to visit and said that they may well be a few pieces of his work still there.
The gallery was really interesting and I discovered once walking to Terry Etherton the owner, that it is all work that is for sale, not only exhibits. There was a number of projects on display and lots of interesting rooms with draws full of work from the likes of Edward S Curtis, chris Mc Caw, Alex Webb and many more. I was particularly drawn to Kate Breakey’s toned gelatin (luminous portraits of birds, flowers and animals) sliver prints. She produced them in all shapes and sizes and chose to present them in all different grand golden frames, giving the images a real antique and exotic feel to them. To me I felt like they were part of a collection of an explorer or botanist would have made or collected years ago. I felt quite inspired by the contemporary response to such a old process.
I walked around the gallery once and tried to take everything in, I found some really nice pieces of work by an artist called Valerie Gallway, who makes small silver prints and hand toned them, making aluminium frames or turning them into jewellery.
By this point I had given up on the prospect of finding any of David’s work, however I was really pleased I had found the gallery and seen the other work on display. As I was leaving I started talking to Terry Etherton and told him about my work and my excitement at finding David Emmit-Adams work online. We talked for a log time and he was very interested in my concepts and ideas and said he was sure there was a few of David’s tin can, tintypes still in the gallery. He was right, there were three pieces and it was really great to get a close look. I was allowed to touch them and photograph them, whilst Terry told me how David works from a portable converted Ice cream van/darkroom and how there is quite a growing demand for his work, despite the slow process he is working on. Seeing his work has given me the enthusiasm I need at this point on the course and made me excited again about experimenting with printing on to metal. I now have a million questions for David that I intend to ask via email…..
Terry Etherton also showed me a selection of pieces of work by ???? . I love the randomness to the sizes and actual images on the prints. I really enjoy the playfulness and disorder that he created by selecting random images and putting them together as one collection, then allowing the buyer or viewer to order them in a way that allows then to interact with his art. He also carries the images around for some time or marks or damages them in different ways which make every single one an original piece. Like accidental double exposures or half images you get at the beginning or end of a roll of film.