© Trish Morrissey,  Hayley Coles  from the series ‘Front’

© Trish Morrissey, Hayley Coles from the series ‘Front’

© Matthew Finn, from the series ‘Mother’

© Matthew Finn, from the series ‘Mother’

 

Francesca Maffeo Gallery is delighted to have Trish Morrissey and Matthew Finn exhibiting at 2019 London Art Fair.

A wide selection of their work forms part of this years Photo50 Who’s looking at the family, now? curated by Tim Clark.

Fourteen artists have been announced for the 2019 edition of Photo50 at London Art Fair 2019 16-20 January (Preview 15 January). The annual guest-curated exhibition provides a critical forum for examining some of the most distinctive elements of current photographic practice.

Who’s looking at the family, now? is an exhibition curated by Tim Clark that will engage with some fundamental questions about family life, its dynamics and complexity, as represented by a group of contemporary photographers and artists working in the UK and internationally. 2019 will also mark twenty-five years since British curator Val Williams’ seminal exhibition, Who’s looking at the family? which opened at the Barbican in 1994, offering the opportunity to consider the multifarious changes, both to notions of the family and photography, that have taken place during this time. The exhibition will feature acclaimed British artists David Moore, Trish Morrissey, Matthew Finn and L éonie Hampton alongside artists on display for the first time in London, including Mexico City-based Mariela Sancari, as well as Thai-born artist Alba Zari, Iranian Amak Mahmoodian and Lebohang Kganye from South Africa.

Ranging from documentary modes and found photography to conceptual approaches to the medium, and bringing together forms of construction or performative acts as well as sculptural interventions, the exhibited works meditate on what might constitute, or in some cases deconstruct, a family photograph. Many demonstrate the way images embark on a journey from a point of origin in the private sphere to enter the public gaze. Furthermore, boundaries between internal and external worlds become blurred to create part-spectacle, part socio-historical testimonies that provide windows onto issues of class, race and identity.

For nearly thirty years, Matthew Finn collaborated with his mother, Jean, on the series simply titled Mother . Black and white portraits depict everyday rituals set within her home in Leeds through to the time she spent in residential care at the end of her life. In the parallel project, Uncle —exhibited together for the very first time at London Art Fair—the camera follows Finn’s uncle, Des, recording the mundane habits and quirks that we recognise in ourselves and the way we utilise our space.

For Trish Morrissey ’s Front, the artist travelled to beaches across the UK and Melbourne, Australia, asking if she could temporarily become part of their family, often assuming the role and the position of the mother figure by standing in and borrowing their clothes. These highly-theatrical photographs perform memory and identity, shaped by chance encounters with strangers.