Fergus Heron, Charles Church Houses, selected works 2004-2010 portfolio

Research output: Non-textual outputArtefactResearch

Abstract

Charles Church Houses is an ongoing series of photographic works that depict modern family houses, and their immediate environment, built in various English architectural historical styles by the Surrey based property developer Charles Church. The question that underpins these works is how the house, as a feature of the everyday domestic built environment, and, as an image, can manifest tensions between perceived tradition and modernity, culture and nature, and, how these tensions can be represented through photography. Fergus Heron uses a large format view camera to make these highly organised pictures, and, to reference the early technologies and histories of photography in the nineteenth century. Early experiments in the development of the medium by Niepce, Daguerre and Fox Talbot took place almost exclusively in and around the space of the house. Elements of domestic space featured often as the main subject of many early photographs including the landscape. These pictures therefore aim to offer reflection upon their own form and its history, and, upon notions of ʻHouseʼ and ʻHomeʼ - both domestic and national. In connection, they complicate distinctions between real and imagined place, construct an illusion of a past brought uncannily into the present, and, foreground the historical significance of the everyday environment.
Original languageEnglish
Publication statusPublished - 2010

Fingerprint

Built Environment
Surrey
History
Experiment
Domestic Space
History of Photography
Henry Fox Talbot
Photography
Modernity
Property Developers
Illusion
Louis Daguerre
Family House
Nature

Bibliographical note

© The Author

Cite this

@misc{1cc90fa6798641b4a9cbdc28e39a7793,
title = "Fergus Heron, Charles Church Houses, selected works 2004-2010 portfolio",
abstract = "Charles Church Houses is an ongoing series of photographic works that depict modern family houses, and their immediate environment, built in various English architectural historical styles by the Surrey based property developer Charles Church. The question that underpins these works is how the house, as a feature of the everyday domestic built environment, and, as an image, can manifest tensions between perceived tradition and modernity, culture and nature, and, how these tensions can be represented through photography. Fergus Heron uses a large format view camera to make these highly organised pictures, and, to reference the early technologies and histories of photography in the nineteenth century. Early experiments in the development of the medium by Niepce, Daguerre and Fox Talbot took place almost exclusively in and around the space of the house. Elements of domestic space featured often as the main subject of many early photographs including the landscape. These pictures therefore aim to offer reflection upon their own form and its history, and, upon notions of ʻHouseʼ and ʻHomeʼ - both domestic and national. In connection, they complicate distinctions between real and imagined place, construct an illusion of a past brought uncannily into the present, and, foreground the historical significance of the everyday environment.",
author = "Fergus Heron",
note = "{\circledC} The Author",
year = "2010",
language = "English",

}

Fergus Heron, Charles Church Houses, selected works 2004-2010 portfolio. Heron, Fergus (Author/Creator). 2010.

Research output: Non-textual outputArtefactResearch

TY - ADVS

T1 - Fergus Heron, Charles Church Houses, selected works 2004-2010 portfolio

AU - Heron, Fergus

N1 - © The Author

PY - 2010

Y1 - 2010

N2 - Charles Church Houses is an ongoing series of photographic works that depict modern family houses, and their immediate environment, built in various English architectural historical styles by the Surrey based property developer Charles Church. The question that underpins these works is how the house, as a feature of the everyday domestic built environment, and, as an image, can manifest tensions between perceived tradition and modernity, culture and nature, and, how these tensions can be represented through photography. Fergus Heron uses a large format view camera to make these highly organised pictures, and, to reference the early technologies and histories of photography in the nineteenth century. Early experiments in the development of the medium by Niepce, Daguerre and Fox Talbot took place almost exclusively in and around the space of the house. Elements of domestic space featured often as the main subject of many early photographs including the landscape. These pictures therefore aim to offer reflection upon their own form and its history, and, upon notions of ʻHouseʼ and ʻHomeʼ - both domestic and national. In connection, they complicate distinctions between real and imagined place, construct an illusion of a past brought uncannily into the present, and, foreground the historical significance of the everyday environment.

AB - Charles Church Houses is an ongoing series of photographic works that depict modern family houses, and their immediate environment, built in various English architectural historical styles by the Surrey based property developer Charles Church. The question that underpins these works is how the house, as a feature of the everyday domestic built environment, and, as an image, can manifest tensions between perceived tradition and modernity, culture and nature, and, how these tensions can be represented through photography. Fergus Heron uses a large format view camera to make these highly organised pictures, and, to reference the early technologies and histories of photography in the nineteenth century. Early experiments in the development of the medium by Niepce, Daguerre and Fox Talbot took place almost exclusively in and around the space of the house. Elements of domestic space featured often as the main subject of many early photographs including the landscape. These pictures therefore aim to offer reflection upon their own form and its history, and, upon notions of ʻHouseʼ and ʻHomeʼ - both domestic and national. In connection, they complicate distinctions between real and imagined place, construct an illusion of a past brought uncannily into the present, and, foreground the historical significance of the everyday environment.

M3 - Artefact

ER -