THE WORK EXPLORES AND CELEBRATES: 

The organic landscape and man-made environment - the sea and its coastal
limits - architectural structures, vernacular and formal - chance and found
objects - workings and mechanisms - classic automotive.

FINE ART IMAGES: Subjects are often informal, weathered, chanced-upon.

Sometimes there is evident a stark, ‘corrosive beauty’ - yet a lightness of touch. 
The work is of mild contrasts and quiet qualities:

An ancient sluice gate caught in sudden silhouette.	Bindweed breaking through a shattered wall

Printed work is ostensibly ‘digital etching’.   As though the surface had been etched or engraved by a steel burin and
given texture with light abrasion.   On certain works the matrix shows through the printing, reinforcing the origin of
camera image (like the grain of traditional film).  The aesthetic vision is to:

Transpose the taken image into a refined state that is neither photographic print, nor painting, but an elusive
synthesis of both.

AUTOMOTIVE IMAGES:  Feature large-scale canvas prints, multi-panel murals and works on fine art paper. 
Includes classic vehicles of all vintage, marking a life-long interest in the art of automotive and industrial design.

Often abstract, these images are effectively of ‘rolling sculpture’. The work reflects a passion for three-dimensional
sculptural mass and placement.  It examines the photographic potential of ‘automotive space’:

The balance of convex and concave form -interplay of under-shadow and top light -
the excesses of chromium plate!

METHODOLOGY:  Source images are taken with full-frame, medium or large format cameras, combining
traditional film and modern digital capture.

Each numbered image is printed in oil-based permanent pigment ink on fine art paper or suitable canvas media.  
The works are both monochrome and multi-chromatic in small-number limited editions or one-off monoprints.  

Active as a fine art photographer in New Zealand and the UK, William Gordon is a post-graduate of Chelsea
College of Art & Design.

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