His projects feature his engagement in photography as a critical medium of self-awareness. A variety of conjunctions are explored including astronomy; geology; literature; philosophy; anthropology; archaeology and classical studies. Each body of work shows the multiplicity of his medium and presents the viewer with a layered multi-dimensional study, often endowed with a speculative look at history and place.
His field recording and other data gathering methods combined with the use of varied visual stimuli derived from the use of appropriation strategies creates fictional bodies of work based on factual matter. Process based material in the body of work functions as an open-ended statement. Throughout his practice the contextual foundation functions as a backdrop for imaginative, fictional and subjective discourse that questions the illusion of fact in the flux of existence.
In 1965 and 1967 NASA and the U.S. Geological Survey organised field trips to Iceland for American astronauts to learn geology in locations described as ‘terrestrial analogue sites’. Also called ‘space analogues’, they are places on Earth with assumed past or present geological, environmental or biological conditions of a celestial body such as the Moon or Mars.
Who? Matthew Broadhead
Docking June 5 - 25
Working on Heimr
About places on Earth with assumed past or present geological, environmental or biological conditions of a celestial body such as the Moon or Mars
Matthew Broadhead is a British photographer currently based in Southwest England. He graduated from the BA (Hons) Photography program at the University of Brighton in 2016 and has enjoyed recognition for his graduate body of work ‘Heimr’ that was featured in the July 2016 issue of The British Journal of Photography and received 1st prize in judging for the inaugural Photoworks award.
Matthew Broadhead studied on the BA Photography course at the University of Brighton, graduating with First Class Honours in 2016. Heimr, his final submission, demonstrated Matthew’s diverse interests; Clearly a voracious reader and absorber of facts, Heimr drew inspiration from a range subjects including geology, archeology, history, literature, science and (of course) the visual arts. This was particularly evident in the research he also presented (at Brighton we ask students to include supporting material detailing the journey through their project) which was among the most comprehensive the staff had ever seen. I remember thinking, as I skimmed through his monumental document, that it was almost good enough to publish in its own right. But let us not miss the point here: an ability to contextualise and discuss ones own work is important, but it’s not enough in itself. In Matthew’s case his practical work was equally as strong, his photographs mirroring his eclectic interests with supreme confidence. The photographs were shrewdly drawn together into one cohesive whole, demonstrating Matthew’s understanding of aesthetics; he well knew his work needed to be visually appealing in order to effectively communicate his complex ideas. It is rare to find a balance of the visual and intellectual in one so young, and he fully deserves his selection for the Docking Station.