Andrea Hamilton AH Studio
08.05.18
The Ned launches with its permanent art collection

This week was the launch of the incredible new Ned hotel in the City of London. It is a four year and £200million immaculate restoration project of the old Midland Bank, put together by the people at Soho House. As part of this, curator Kate Bryan was tasked with sourcing their permanent art collection, including one of my headless nudes from The Portrait of a Lady series – pictured above, and in excellent company alongside Jenny Holzer and Cornelia Parker.

To quote Kate: “The core of The Ned’s art collection is The Vault 100: 93 women and 7 men which inverses the FTSE 100 CEO gender ratio. (Which I think has now worsened in favour of female CEO representation since I began curating this collection.) I am not a fan of all women exhibitions for the sake of it but this is a permanent collection in the heart of the city of London. The Ned has effectively put its money where its mouth is… women are under represented in every aspect of the art world and from today there is one small but loud collection in the centre of London’s financial district which purposefully subverts the masculine dominance of the area and calls attention to the disparity we all want to rectify. The names here include the 7 men who collaborate with women artists in their practice and so gained a spot in the Vault 100. The list also names a handful of other deserving artists who have a work in other areas of the building. And what a building. Thanks Sir Edwin ‘Ned’ Lutyens!”

26.08.16
Art Southampton Opening

Art Southampton opening night, the beautiful and glamorous Nico Kos Earl and uber gallerist Sebastiano Varoli with my latest work www.artbastion.com #Artfair #artsouthampton2016 #fineartphotography #contemporaryart @artbastion @nicokos via https://www.instagram.com/andreahamiltonstudio

06.06.16
Special Showroom at 23MD

Special Showroom at 23MD, a Medical Cosmetic Clinic situated in the heart of Chelsea, London.

17.05.16
Photography Master Class

Photography Master Class at Moelis & Company, London.

18.07.15
Juror’s Honorable Mention and exhibition Landscapes at The Center for Fine Art Photography in Fort Collins

Las Encantadas No.3, which is part of the series Las Encantadas, has been shortlisted for the exhibition Landscapes at The Center for Fine Art Photography in Fort Collins, Colorado. The Juror, Chantel Paul, was the person in charge of the curation. In addition, the picture has been also awarded with the Juror’s Honourable Mention. This photograph is part of the project Las encantadas developed in 2010. For this series of pictures carried out at Galapagos Islands, I dived into the idea of the landscape as an attitude that is capable to express emotions and feelings. In a way, I’ld like to show the sublime unexplored encounters in which one can uncover enrichment and meaning. For this body of work, the historical controversy regarding Pictorialism in photography was used as a starting point. Pictorialism was an international style and aesthetic movement that dominated photography during the late 19th and early 20th centuries, a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph, as a mean of “creating” an image rather than simply capturing it. Relating this to our present moment, and assuming that the media revolution has reached a point in which the digital brushes have been replaced by the physical ones, I intended to use this contemporary tool, which is digital photography, in order to reproduce the emotions I experienced in these Islands. The title of the project comes from one of the first maps of the area, in which the following note was included: “Enchanted Islands”. I found this adjective —in Ecuadorian Spanish “Las Encantadas”— very pertinent with the emotion I was trying to express: the Galapagos as an unreal and magical space out-of-the-world, where human touch is barely visible. This picture is currently exhibited at the The Center for Fine Art Photography in Fort Collins, Colorado — a non-profit organization founded by photographers in 2004.

30.07.15
7th Julia Margaret Cameron Award

Clodagh, was shortlisted for the 7th Julia Margaret Cameron Award for Women Photographers within the portrait category. This year a group of 103 images were selected by the well-known photographer and juror Jill Greenberg, from 1,203 participants from 51 different countries. Currently in its 7th edition, this prize is an open call for woman photographers that includes different sections such as landscape, portrait or documentary, among other themes. The award aims to create a platform to recognize women through the years, and within the world of photography itself. The shortlisted work is part of an ongoing project with an approach towards the art narratives and morality of 19th century‘s early feminism, taking inspiration from names such as Virginia Woolf, Julia Margaret Cameron or Vanessa Bell. By focusing on these writers and artists I aim to investigate the beginning of this ideological movement and its essence since, in my opinion, this relies on the realm of the domestic. These women created liberating realities from the intimacy of their homes using photography, painting or literature on an attempt to reach freedom, or perhaps an ability to choose, that society could not offer to them yet. For the first time an art practice became a radical form of representation as it was used as a way of undermining the role of women in society. In this series of portraits, the methodology has to do with the domestic idea of life for women, through the creation of specific scenes, to register moments of intimacy – the privacy of the self. On the other hand, I also try to create theatrical instants of disruption in which the spectator can make an educational guess, can find himself in a moment of tension that reveals that something is about to happen. Clodagh alludes to a stillness in time.  Finally, I would like to create an analytical glance towards the past in order to relate this particular movement of the 19th century with the renewed critical forms of the present by the means of photography.

“For most of history, Anonymous was a woman.”
― Virginia Woolf

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