Edmund ClarkHonFRPS is a British artist and photographer whose work explores politics, representation, incarceration and control. His research based work combines a range of references and forms including bookmaking, installations, photography, video, documents, text and found images and material. Several of his projects explore the
War on Terror.[1]
His notable projects include Guantanamo: If The Light Goes Out,[2][3]Control Order House,[4][5][6]The Mountains of Majeed,[7][8][9] and Negative Publicity: Artefacts of Extraordinary Rendition (in collaboration with researcher and writer Crofton Black).[10][11] Edmund Clark's awards include the 2009 International Photography Award from
The British Journal of Photography,[12] 2016
Rencontres d'Arles Photo-Text Book Award[13] and 2017 Infinity Award in Documentary and Photojournalism category from
International Center of Photography.[14] In 2018 Clark was awarded an Honorary Fellowship of the
Royal Photographic Society. Edmund Clark was the
Ikon Gallery's artist-in-residence at Europe's only wholly therapeutic community prison,
HM Prison Grendon from 2014 until 2018. Supported by the
Marie-Louise von Motesiczky Charitable Trust, the residency culminated in the publication of My Shadow's Reflection (
Ikon Gallery: Birmingham and Here Press: London) and a solo exhibition In Place of Hate at
Ikon Gallery.[15][16][17]
Life and career
Clark worked as a researcher in London and Brussels before gaining a postgraduate diploma in photojournalism at
London College of Communication.[18]
He gained access to
Guantanamo Bay detention camp and to a house under a
control order (housing an individual held under the
Terrorism Prevention and Investigation Measures Act 2011). His book Control Order House is his response to a period he spent staying in a house with a man known as 'CE' who had been placed under a Control Order due to his suspected involvement with terrorist-related activity. Clark spent three days working in the house taking a large number of quick, uncomposed photographs surveying the site. These images, along with architectural plans of the house, redacted documents relating to the case and a diary kept by 'CE' form a portrait of sorts: of the site and its inhabitant and of the structure of legal restriction imposed and represented by the house.[19]
Edmund ClarkHonFRPS is a British artist and photographer whose work explores politics, representation, incarceration and control. His research based work combines a range of references and forms including bookmaking, installations, photography, video, documents, text and found images and material. Several of his projects explore the
War on Terror.[1]
His notable projects include Guantanamo: If The Light Goes Out,[2][3]Control Order House,[4][5][6]The Mountains of Majeed,[7][8][9] and Negative Publicity: Artefacts of Extraordinary Rendition (in collaboration with researcher and writer Crofton Black).[10][11] Edmund Clark's awards include the 2009 International Photography Award from
The British Journal of Photography,[12] 2016
Rencontres d'Arles Photo-Text Book Award[13] and 2017 Infinity Award in Documentary and Photojournalism category from
International Center of Photography.[14] In 2018 Clark was awarded an Honorary Fellowship of the
Royal Photographic Society. Edmund Clark was the
Ikon Gallery's artist-in-residence at Europe's only wholly therapeutic community prison,
HM Prison Grendon from 2014 until 2018. Supported by the
Marie-Louise von Motesiczky Charitable Trust, the residency culminated in the publication of My Shadow's Reflection (
Ikon Gallery: Birmingham and Here Press: London) and a solo exhibition In Place of Hate at
Ikon Gallery.[15][16][17]
Life and career
Clark worked as a researcher in London and Brussels before gaining a postgraduate diploma in photojournalism at
London College of Communication.[18]
He gained access to
Guantanamo Bay detention camp and to a house under a
control order (housing an individual held under the
Terrorism Prevention and Investigation Measures Act 2011). His book Control Order House is his response to a period he spent staying in a house with a man known as 'CE' who had been placed under a Control Order due to his suspected involvement with terrorist-related activity. Clark spent three days working in the house taking a large number of quick, uncomposed photographs surveying the site. These images, along with architectural plans of the house, redacted documents relating to the case and a diary kept by 'CE' form a portrait of sorts: of the site and its inhabitant and of the structure of legal restriction imposed and represented by the house.[19]