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I Don't Want To Get Over You
Untitled (UP/WM), 2013, C-Type prints, 72x54.5cm / 72x54.5cm (framed), Edition of 3 + 2APsSam Irons

I don't want to get over you

All is not as it seems in Sam Irons' seemingly discordant new series challenging pre-conceived interpretations

The young photographer Sam Irons presents his latest body of work I Don’t Want To Get Over You at Tim Sheward Projects in London, curated by Julien Dobbs-Higginson. The series consists of nature photographs, abstract arrangements and defamiliarised details of objects, spaces and structures. The combination of the seemingly unrelated and discordant images creates a new dimension, a relationship and resonance between components, through which Irons tries to “challenge photography's ability to present defined meaning”. The showcased photographs engage with the possibilities, complexity and pitfalls of visual communication. Uneven surfaces, minimalist black and white images and washed-out colours create a poetic though sharp mood. The texture “can focus attention away from a pre-conceived interpretation of the subject” says Irons, whose work is inspired by the process of perception. Beyond their obvious beauty the photographs leave a lot of room for interpretation and exploration. All of the works remain untitled as Irons finds it limits the interpretation of his work: “Signs and hieroglyphics minimise the potential for meaning.”

Irons, who studied English Literature at Trinity College Dublin in Ireland and graduated from Brighton University in 2004 with a degree in Photography, started as a landscape photographer. Nature still serves as an inspiration for the artist. He used to take road trips, equipped solely with his camera and a tent. “Nature is abstract in the proper sense – it is not trying to convey a message,“ he says. The artist Juan Bolivar, who previously showcased his work at Tim Sheward Projects describes the series as follows: “[It] seems contemplative without being religious, philosophical without being dogmatic. It is random and specific at the same time.”

On display at Tim Sheward Projects, London, until November 2.