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| NEIL HAMON |
[click on image for larger view]
My current practice uses established forms of re-presentation such as photography, sculpture and film to
investigate our relationship with loss and how we are lured into fictions or narratives in an attempt to grasp on to
that which is constantly slipping away from us.
At first glance the works may appear as familiar documentation, but upon closer inspection reveal themselves as
carefully constructed conceits that question how we are lured into falsehoods because of our often-fatal desire to
preserve, restore and remember.
I generally focus on mediums of representation that lay claim to a depiction of truth through an indexical link to
their subject. These are processes that rely on such a claim in order to function as accurate re-presentations,
such as documentary photography and the more obsessive approaches of historical re-enactment and taxidermy.
In earlier works I travelled the British Isles in order to meticulously document historical re-enactors and their re-
enactments. The large-scale colour photo-works and smaller nostalgically tinted images that resulted, capture
the objects, costumes and activities these war-weekenders assume in a bid to authenticate and re-live a lost
past.
Each image is printed and toned to match the photographic style of the time, pushing the re-enactors aim one
step further by re-presenting them back into the two dimensional world from which they draw their references.
The films and photographs are then combined with sculptural elements, such a taxidermised hare that breathes
or a cast of a fish’s head, which appears to have attracted a group of fishing flies.
It is the point at which the viewer is made to question the nature of the photographs and the relationship between
the images and accompanying objects that interests me and how, through such questioning, the hold of a fiction
can weaken.
In more recent work I have taken on the role of both documentary photographer and subject by presenting a
series of suicide self-portraits based on crime scene photography from 1920’s America.
Each of the suicide works consist of a group of images that describe a single scene from varying viewpoints
imitating the style of early crime-scene photography and re-presenting it in a fractured, non-linear way
reminiscent of contemporary cinema.
These works are often shown along side more substantial taxidermy dioramas that reference those found within
natural history museums but within which something has gone seriously awry. All of these works take up a
position somewhere between documentary and fiction.
investigate our relationship with loss and how we are lured into fictions or narratives in an attempt to grasp on to
that which is constantly slipping away from us.
At first glance the works may appear as familiar documentation, but upon closer inspection reveal themselves as
carefully constructed conceits that question how we are lured into falsehoods because of our often-fatal desire to
preserve, restore and remember.
I generally focus on mediums of representation that lay claim to a depiction of truth through an indexical link to
their subject. These are processes that rely on such a claim in order to function as accurate re-presentations,
such as documentary photography and the more obsessive approaches of historical re-enactment and taxidermy.
In earlier works I travelled the British Isles in order to meticulously document historical re-enactors and their re-
enactments. The large-scale colour photo-works and smaller nostalgically tinted images that resulted, capture
the objects, costumes and activities these war-weekenders assume in a bid to authenticate and re-live a lost
past.
Each image is printed and toned to match the photographic style of the time, pushing the re-enactors aim one
step further by re-presenting them back into the two dimensional world from which they draw their references.
The films and photographs are then combined with sculptural elements, such a taxidermised hare that breathes
or a cast of a fish’s head, which appears to have attracted a group of fishing flies.
It is the point at which the viewer is made to question the nature of the photographs and the relationship between
the images and accompanying objects that interests me and how, through such questioning, the hold of a fiction
can weaken.
In more recent work I have taken on the role of both documentary photographer and subject by presenting a
series of suicide self-portraits based on crime scene photography from 1920’s America.
Each of the suicide works consist of a group of images that describe a single scene from varying viewpoints
imitating the style of early crime-scene photography and re-presenting it in a fractured, non-linear way
reminiscent of contemporary cinema.
These works are often shown along side more substantial taxidermy dioramas that reference those found within
natural history museums but within which something has gone seriously awry. All of these works take up a
position somewhere between documentary and fiction.
Art Education:
2001-2002 Goldsmiths College, London.
MA in Fine Art.
2000-2001 Goldsmiths College, London.
Postgraduate Diploma in Fine Art.
1995-1998 Central Saint Martins College of Art and Design, London.
Honours BA Fine Art (Sculpture).
Selected Exhibitions:
2006
Six Feet Under, Fine Arts Museum, Berne, Switzerland.
Urban Gothic, Quartair Gallery, The Hague, The Netherlands.
Neil Hamon – PhotoEspana2006, Blanca Soto Gallery, Madrid, Spain.
Davidson Contemporary - Inaugural Exhibition, New York, USA.
Right on – Write Off, Chapman Fine Arts, London.
8x8x8 LON/MSP/NYC, Soap Factory, Minneapolis, USA.
Neil Hamon/Fernanda Chieco. Galeria Leme, Sao Paulo, Brazil.
2005
Larry’s Cocktails, Gagosian Gallery, London.
Portrait, Galeria Leme, Sao Paulo, Brazil.
2004:
Guy Allot, Neil Hamon, Claire Pestaille.
Curated by Soraya Rodriguez & David Thorp, 4 Davies Street, London.
The Great Unsigned, Zoo Art Fair, Regents Park, London.
Cinderella, Tower Bridge Business Complex, Bermondsey, London.
Trackers, Pitzhanger Manor House, London.
After Life – Curated by Simon Morrissey, Bowes Museum, County Durham. UK.
2003:
Souvenir, Transition Gallery, London.
Godzilla, Trailer, 2-10 Hartford Road, London.
Home Sweet Home, National Gallery Of Australia, Canberra, Australia.
Neil Hamon / David Van Royan, McNamara Gallery, New Zealand.
Mostyn 13, Oriel Mostyn Gallery, Llandudno, Wales.
Chockafuckinblocked, Jeffery Charles Gallery, London.
2002:
The Way to Happiness, VTO Gallery, London.
Goldsmiths MA Show, Goldsmiths College, London.
Guns and Roses, in association with Trailer, 86 Brick Lane, London.
Lend us £100 Million, Trailer, 4 Dingley Place, London.
Awards:
2003 BOC Emerging Artist, Finalist Award.
2002: Woo Foundation Bursary Award.
Bibliography:
Baker, Steve. ‘Animal Rights and Wrongs’, Tate Magazine, no. 26, 2001. P44.
Baker, Steve. ‘Nanoq: flat out and bluesome’, Black Dog Publishing, 2006, ISBN 1-904772390
Clarkin, Andrew & Pittuck, Simon. ‘Trackers’, a-n Magazine, July, 2004.
de Souza, Eduarda. ‘History, Suicide, Fishing and Taxidermy’, NYArts Magazine Vol. 11. 2006.
Coomer, Martin. ‘Larry’s Cocktails’, Timeout No.1828, August, 2005.
Louisa, Buck. ‘Frieze…’, The Art Newspaper,No 152, Nov, 2004.
Morrissey, Simon. ‘After Life’, The Bowes Museum, 2004, ISBN 0-9502375-7-4.
Morrissey, Simon. ‘Trackers’, PM Gallery & House, 2004, ISBN 0-9538583-5-9.
Ogden, Rachael. ‘Dealing With the End’, Newcastle Metro, 2004.
Pleass, Anders. ‘Mostyn 13’, Oriel Mostyn Open. 2003 ISBN 0906860504
PhotoEspana. ‘Neil Hamon – Taxidermia’. 2006. ISBN 84-96466-36-1.
Roberts, David. ‘Art and the Power to Shock’. The Northern Echo, Feb 2004.
Roberts, David. ‘Museum Defends Death Display’, The Northern Echo, Feb, 2004.
Whetstone, David. ‘Exploring an Undying Fascination’, The Journal, Feb 2004.
Waller, Rosie. ‘Dead Matters’, North East Exclusive, March, 2004.
Starace, Alex. ‘8x8x8’, Twin Cities Daily Planet, May, 2006.
Sumpter, Helen. ‘Trackers’, Timeout, June 16-23, 2004.
2001-2002 Goldsmiths College, London.
MA in Fine Art.
2000-2001 Goldsmiths College, London.
Postgraduate Diploma in Fine Art.
1995-1998 Central Saint Martins College of Art and Design, London.
Honours BA Fine Art (Sculpture).
Selected Exhibitions:
2006
Six Feet Under, Fine Arts Museum, Berne, Switzerland.
Urban Gothic, Quartair Gallery, The Hague, The Netherlands.
Neil Hamon – PhotoEspana2006, Blanca Soto Gallery, Madrid, Spain.
Davidson Contemporary - Inaugural Exhibition, New York, USA.
Right on – Write Off, Chapman Fine Arts, London.
8x8x8 LON/MSP/NYC, Soap Factory, Minneapolis, USA.
Neil Hamon/Fernanda Chieco. Galeria Leme, Sao Paulo, Brazil.
2005
Larry’s Cocktails, Gagosian Gallery, London.
Portrait, Galeria Leme, Sao Paulo, Brazil.
2004:
Guy Allot, Neil Hamon, Claire Pestaille.
Curated by Soraya Rodriguez & David Thorp, 4 Davies Street, London.
The Great Unsigned, Zoo Art Fair, Regents Park, London.
Cinderella, Tower Bridge Business Complex, Bermondsey, London.
Trackers, Pitzhanger Manor House, London.
After Life – Curated by Simon Morrissey, Bowes Museum, County Durham. UK.
2003:
Souvenir, Transition Gallery, London.
Godzilla, Trailer, 2-10 Hartford Road, London.
Home Sweet Home, National Gallery Of Australia, Canberra, Australia.
Neil Hamon / David Van Royan, McNamara Gallery, New Zealand.
Mostyn 13, Oriel Mostyn Gallery, Llandudno, Wales.
Chockafuckinblocked, Jeffery Charles Gallery, London.
2002:
The Way to Happiness, VTO Gallery, London.
Goldsmiths MA Show, Goldsmiths College, London.
Guns and Roses, in association with Trailer, 86 Brick Lane, London.
Lend us £100 Million, Trailer, 4 Dingley Place, London.
Awards:
2003 BOC Emerging Artist, Finalist Award.
2002: Woo Foundation Bursary Award.
Bibliography:
Baker, Steve. ‘Animal Rights and Wrongs’, Tate Magazine, no. 26, 2001. P44.
Baker, Steve. ‘Nanoq: flat out and bluesome’, Black Dog Publishing, 2006, ISBN 1-904772390
Clarkin, Andrew & Pittuck, Simon. ‘Trackers’, a-n Magazine, July, 2004.
de Souza, Eduarda. ‘History, Suicide, Fishing and Taxidermy’, NYArts Magazine Vol. 11. 2006.
Coomer, Martin. ‘Larry’s Cocktails’, Timeout No.1828, August, 2005.
Louisa, Buck. ‘Frieze…’, The Art Newspaper,No 152, Nov, 2004.
Morrissey, Simon. ‘After Life’, The Bowes Museum, 2004, ISBN 0-9502375-7-4.
Morrissey, Simon. ‘Trackers’, PM Gallery & House, 2004, ISBN 0-9538583-5-9.
Ogden, Rachael. ‘Dealing With the End’, Newcastle Metro, 2004.
Pleass, Anders. ‘Mostyn 13’, Oriel Mostyn Open. 2003 ISBN 0906860504
PhotoEspana. ‘Neil Hamon – Taxidermia’. 2006. ISBN 84-96466-36-1.
Roberts, David. ‘Art and the Power to Shock’. The Northern Echo, Feb 2004.
Roberts, David. ‘Museum Defends Death Display’, The Northern Echo, Feb, 2004.
Whetstone, David. ‘Exploring an Undying Fascination’, The Journal, Feb 2004.
Waller, Rosie. ‘Dead Matters’, North East Exclusive, March, 2004.
Starace, Alex. ‘8x8x8’, Twin Cities Daily Planet, May, 2006.
Sumpter, Helen. ‘Trackers’, Timeout, June 16-23, 2004.
