Alexander Brattell is a British photographer best known for his abstract monochrome fine art prints which examine the role of visual perception in non-verbal thought.
Table of Contents
- 1 Biography
- 1.1 Early years
- 1.2 Main career
- 1.3 Influences
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Biography
Early years
Brattell’s inclusion in photography started with he was a psychology undergraduate at Liverpool University in 1981 following an set sights on to become a writer. Comfortable afterward a camera from the outset, what was designed to be a visual diary to accompany writing projects soon took middle stage. His first published picture was a portrait of professor Patrick Minford for The Financial Times. In 1982 Brattell’s photographs of the author William S. Burroughs were purchased by his publisher, John Calder.
When his demand to transfer his degree to a media subject was declined Brattell left academe to pursue photography full-time. He was the staff photographer and writer for the Liverpool Music and Art fanzine “Breakout” until he began several years of employment in the photographic industry as a social & commercial location and studio photographer. He became freelance in 1986. By this epoch he had already established his Good art practice and was regularly exhibiting his prints in shops and restaurants. His first solo exhibition was at Veronica’s Restaurant in Bayswater West London in 1984.
Main career
Moving to a studio and darkroom in Poplar, East London in 1987, Brattell estranged his time between commissions from design companies and PR agencies, editorial assignments and making prints of his personal images. He freelanced for The Sunday Telegraph for 14 years under picture editor Nigel Skelsey and worked for diverse publications including The Times, Arena, GQ, Esquire, Vogue, Tandoori, Skin Two magazine, Square Meal and Fortean Times. His pretense with musicians continued through put it on for fRoots magazine and with The gigantic Chill, then a little Sunday club issue planning their first festival, for whom he photographed, co-wrote (as Headonastick) and co-edited the vast Chill magazine “ON” (1995–1996).
Commercial clients during a 25-year times have included PricewaterhouseCoopers, CVC Capital Partners, Freud Communications’ and international hotel design company Hirsch Bedner Associates. Brattell resisted specialising, enjoying the contrasts and challenges offered by a concentration of yet life, food, interiors and portraiture.
In 1996 Brattell began teaching part-time, first at Cordwainers College Hackney, then at The London College of Fashion.
He has facilitated numerous community projects and student exhibitions at venues ranging from The Whitechapel Gallery to doctors surgeries.
At the grow less of 2005 Brattell relocated to St Leonards upon Sea, East Sussex bearing in mind his assistant the jewellery performer Jo McAllister and their young person son. He continues to accept commissions, most usually from artists, performers and craftspeople, teaches photography part-time at Sussex Coast College Hastings and exhibits regularly. He increasingly works once galleries such as F-ish, Hastings (curating), The De La Warr Pavilion, Bexhill (art projects in primary schools) and Towner, Eastbourne (exhibition events).
His Good art practice weaves an unbroken thread through his career resulting in bodies of exploit and series of pictures from Britain, Poland, Italy, Southern Africa, Morocco, Egypt and the Western United States. His multi-series do its stuff centred upon London’s East stop has attracted particular attention, being agreed for display by The Prince’s Foundation and the 2010 London International Documentary Festival.
Influences
Through encountering the play a part and writings of mid-twentieth century American avant garde photographers of the 1940s and 1950s such as Minor White, Harry Callahan and Aaron Suskind, Brattell realised that it was Alfred Stieglitz’s theory of Equivalents that could best back him verbalise his own work. Like those artists his undertaking is not primarily concerned as soon as the subjects that it depicts and is as a result closer to the concerns of surrealism and abstract expressionism than customary or post-modern modes in photography.
Other important influences upon Brattell’s measure include the English proto-surrealist Austin Osman Spare (1886–1956), writers J. G. Ballard (1930–2009) and William S. Burroughs (1914–1997).
Last update 2021-08-06