Durbin Lewis

Show RCA work

Major project:

We Are Not Ready Yet

The work presented in the degree show is the third and final instalment from a trio of works that exist both as a photographic work and will ultimately form part of a video work (We are not ready yet). This third and final image consists of an accumulation of nineteenth-century mahogany furniture, the sort that would populate the homes of the newly expanding middle classes. The fever for mahogany furniture throughout the nineteenth as well as the eighteenth century would lead to a mass glut of these ponderous and hefty carcasses. The image was constructed on an 11x14 ultra large format camera, a format commonly used in America during the twentieth century for high end furniture sales catalogues. Multiple colour film emulsions of varying ages and differing processing chemicals have been employed over the 11x14, 8x10 and 5x4 films used to constitute the image.

Info

  • Durbin Lewis Ltd acts as a fictive shop/brand/dealership – not oscillating around a singular creative personal narrative but presenting art objects under a naming strategy more akin to the consumption and distribution from which many objects are initially encountered. Working with photographic sculpture, which heavily utilise the furniture and artefacts from previous centuries, the work develops negotiations with non-tangible space and the image as object through a haptic encounter between objects. Within the photographic process there is a desire for the glitch or error, which is then purposefully manifested within a hybrid workflow of analogue and digital methods.

    The use of mahogany during the late nineteenth century is being developed within current work – the ponderous, heftiness of that middle class aesthetic is being worked upon as symptomatic of a society and its Victorian values that have subsequently been bequeathed to Britons of today. Where at one point there exists a dual material value, that of production and worth but also how this may be indicative of societal values from the society in which it was produced and those that may follow. 

  • Previous degrees

  • BA Fine Art and Art History, Goldsmiths, 2013
  • Exhibitions

  • ‘Royal Photographic Society – International Print Exhibition 157’ 2014/15 inc: Royal Albert Hall, Belfast Photo Festival, ; 'Brighton Photo Fringe Open14 Shortlist' The Regency Townhouse, Brighton, 2014; ‘A Significant Other’ Hammersmith and Fulham Arts Festival, Hammersmith Town Hall, 2014 (curated by Jack Jones); ‘Photogram Open’ Urmson-Burnett Gallery and Silverprint, Salisbury and London, 2014; ‘Wells Art Contemporary’ Wells and Mendip Museum, Wells, Somerset, 2013, (selected by Richard Wentworth CBE, Bruce Mclean, Roy Ackerman CBE and Dan Hays); ‘HOT-ONE-HUNDRED’ Schwartz Gallery, London, 2013, (curated by Ismail Erbil and Patrick Michalopoulos); ‘Figure III’ Red Bull Studios, London, 2013; ‘Ornamental Status III’ 5th Base Gallery, London, 2013; ‘Gold in the Crucible’ Arch 402 Gallery, London, 2013; ‘GRASSGRASS’ Press Play House, London, 2013
  • Funding

  • Eaton Fund
  • Sponsors

  • Film Forge Ltd; Artful Dodgers Imaging
Royal College of Art Royal College
of Art Graduate
Exhibition

25 June –
5 July 2015

Royal College
of Art Graduate
Exhibition