New Releases by Stephen Gill

Gill ha trabajado durante muchos años explorando la cultura y el medio ambiente de Hackney en el este de Londres. En 1932 se inauguró un estadio deportivo en Waterden Road en Hackney y durante los siguientes 65 años fue sede de carreras de galgos y una sucesión de equipos de carreras como los Hackney Wick Wolves, los Hackney Hawks, los Hackney Kestrels y finalmente el Leones de Londres. En diciembre de 1997, la compañía propietaria del estadio, London Stadium Hackney Ltd, salió del negocio y el sitio abandonado fue ocupado por un mercado dominical. El mercado fue ampliamente documentado por Stephen Gill en Hackney Wick, un libro y una serie fotográfica publicada en 2005, pero cerró en 2003 cuando la Agencia de Desarrollo de Londres compró el sitio antes de demoler el estadio y volver a desarrollarlo para usarlo como el Centro de Medios Olímpicos de Londres 2012. Gill explora un tiempo y lugar que una vez fue y ahora está enterrado y en gran medida olvidado bajo el asfalto. Capa sobre capa, añade material a una historia ya rica en éxitos y fracasos, esperanzas y desilusiones. Las ocho fotografías ( Pigment Prints, 12x12cm ) describen estados de abandono y desocupación posterior, descampados o detalles de lo que entonces quedaba del circuito inicial.

The fetal origins hypothesis suggests that interuterine life plays a more significant role in life-long adult health than previously thought. The human placenta is the crucial organ that supplies the developing fetus with oxygen and nutrients, and its function is closely related to the health of the baby. A more quantitative understanding of the placenta is sought, to provide more accurate statistics and predictions regarding fetal health. This research aims to quantify placental function and growth at two scales -- gross placental morphology and oxygen transport at the microscopic level. Placental shape is quantified via Fourier series and moments, and probability distribution functions (similar to histograms) are calculated for measured characteristics. Analysis of distribution functions provides some information regarding the likely development of the placenta. Most distribution functions found are not normal (Gaussian), and posses power-law tails, indicative of more complex random growth phenomena. Oxygen transport is one of the fundamental functions of the placenta, and this research aims to quantify how efficiently various exchange geometries function. Segmented histology slides of terminal villi (the site of oxygen exchange) are used in numerical simulations of stationary diffusion within realistic geometries for the first time. Capillary numbers, positions and calibres are measured and combined in a number of ways to measure transport efficiency. Efficiency is then correlated with measures such as birth weight, and fractal vascular efficiency (which relates the mass of fetus created per mass of placenta). Significant correlations are found between efficient capillary arrangements and ''healthy'' whole placental vasculature.

Nothing was more important to Wordsworth than tracing the evidence that affinities had been preserved between all the stages of the life of man. In this beautifully written and thoughtful book Wordsworth''s biographer and editor Stephen Gill explores the ways in which the poet attempted as an artist to maintain such continuities and shows how revisitings of various kinds are at the heart of his creativity. Habitually reviewing all of his work, both published and that still in manuscript, Wordsworth painstakingly revised at the level of verbal detail or recast it more largely. New poems frequently emerged from re-engagement with old, often serving as a sequel to or commentary from the maturer poet on his own earlier creation, and acts of self-borrowing and self-reference are plentiful. These linkings provide insights into the powerful vision the poet maintained that his imaginative creation was one evolving unity and reveal much about the obsessions and drives of the great poet. Combining textual analysis, critical commentary, and biographical narrative, Gill explores what binds Wordsworth''s later, less well-known poems to his earlier work. At the centre of the book is an account of the evolution of The Prelude from 1804 to 1839, in which it is argued that Wordsworth''s masterpiece must be followed through all its versions, seen as a poem growing old alongside its creator.

For this new commission for the Brighton Photo Biennial 2010, New Documents, curated by Martin Parr, Hackney based photographer Stephen Gill has created Outside In, a series steered and guided by the physical place itself, literally scooping up bits of Brighton and dropping parts of it into his camera. Gill employs finds such as seaweed, local plant life, a false eyelash, a jelly bear, fish tails, etc discovered on his travels or near where his photographs are made. Insects crawl across the film emulsion like creatures caught in amber. The objects introduced to the camera chamber are integral to the photographs rather than superimposed, their place in the composition occurring entirely at random and establishing both harmony and conflict.

Just as a collection of a musician''s B-side cuts and outtakes, or the scenes that didn''t quite make it into a movie, speak volumes about the project as a whole, and offer their own kind of magic by their very excision, so too does B Sides, the companion volume to British photographer Stephen Gill''s latest book of photos Coming Up for Air, likewise illuminate the fringes of his latest project. In B Sides, Gill records minute effects of texture and trace. Please note that only a limited number of copies are available.

This challenging work develops a radical theory of the new world order to argue that as the globalisation of power intensifies, so too do globalised forms of resistance.

Features photographs of betting slips discarded in and around the betting shops in Hackney in north-east London.

UK photographer Stephen Gill has again used his surroundings as the inspiration for this beautiful and evocative series. "Hackney Flowers" evolved from Gill''s longstanding interest in Hackney, East London. For this volume, Gill collected flowers, seeds, berries and objects from Hackney, then pressed them in his studio and rephotographed them alongside his own photographs and other found ephemera, thus building up multi-layered images built from the area. Some of the base photographs were also buried in Hackney Wick, allowing the subsequent decay to imprint upon the images, stressing this collaboration with place. A parallel series also runs within this finely produced book, showing members of the Hackney public with floral details on their persons. This is a warm, poetic and visually exciting book containing images that leave an overwhelming sense of color, emotion and rhythm extracted from a single borough of London.

Stephen Gill has learnt this: to haunt the places that haunt him. His photo-accumulations demonstrate a tender vision factored out of experience; alert, watchful, not overeager, wary of that mendacious conceit, "closure." There is always flow, momentum, the sense of a man passing through a place that delights him. A sense of stepping down, immediate engagement, politic exchange. Then he remounts the bicycle and away. Loving retrievals, like a letter to a friend, never possession... What I like about Stephen Gill is that he has learnt to give us only as much as we need, the bones of the bones of the bones... --Iain Sinclair Continuing to photograph where his award-winning book Hackney Wick left off, Stephen Gill also made Archaeology in Reverse in this personally cherished area of East London. Still making pictures with the camera he bought at Hackney Wick market for 50 pence, for this volume Gill focuses on things that do not yet exist. This magnificently produced book features traces and clues of things to come in a poetic, sometimes eerie and quiet photographic study of a place in a state of limbo prior to the rapid transformation that the area faces during the build-up to the Olympics in 2012.

Since 1996 Stephen Gill has been making serial,studies of mundane British scenes and objects -,including cash points, lost people, the back of,advertising billboards and people travelling on,the London to Southend train. His visual approach,is unique, combining conceptual rigour with,enormous sympathy for his human subjects, and has,already been widely appreciated in Granta and the,New York Times Magazine, among others. His first,book confirms his status as a key young vision in,contemporary photography. With an introductory,essay by humorist and TV filmmaker Jon Ronson.