DRAINED

2016 - 2017


 
There shall be
in that rich earth a richer dust concealed;
A dust whom England bore, shaped, made aware...
— Rupert Brooke, The Soldier, 1914
 
 

Sea Bank

 
 
 
 

The Fens is a region of reclaimed marshland in eastern England, which is now one of the richest arable areas in the UK. Paul Hart has photographed this landscape of agribusiness for over tens years. DRAINED is the second part of Hart’s trilogy on the region. The series was published in 2018 by Dewi Lewis Publishing with an essay by Francis Hodgson and in the same year Hart was awarded the inaugural Wolf Suschitzky Photography Prize. Prints from the series reside in a number of important collections including the Victoria & Albert Museum, the Hyman Collection and the MoMA Library Collection. DRAINED has been internationally exhibited and a second edition of the publication was printed in 2020.


EXHIBITION PRINTS

DRAINED comprises 46 pictures available in limited editions :

Silver gelatin prints

Image sizes up to : 18 x 18 in / 46 x 46cm

Large-scale fibre based baryta prints :

40 x 40 in / 102 x 102 cm

Printed by Paul Hart


DOWNLOADS | LINKS

Press Release (pdf)

Exhibition Install (link)

Contact sheet photographic plates (pdf)


OTHER PUBLICATIONS

This Pleasant Land | Rosalind Jana (Hoxton Mini Press) 2022

Another County | Gerry Badger (Thames & Hudson/MPF) 2022

 

Monograph

DRAINED | Dewi Lewis Publishing

First published 2018 | reprinted 2020

Essay : Picturing the Polder by Francis Hodgson

BUY THE BOOK


Paul Hart is a photographer interested in the slow harvesting of hidden truth from the ordinary places that most of us pass by. He works in an unfashionable idiom with slow cumbrous equipment (not just old-fashioned analogue photography, but medium format analogue photography, slower still) in an unfashionable place. He seeks to find the bits of the land that speak their stories, and to transmit their importance in views in which, typically, the absolute lack of melodrama demands slow looking and brings slow revelation. Hart’s placid, formally peaceful landscape is pregnant with stories that lurk in the mud or the mist. His magic lies in soliciting from his viewers the same half-historical, half-romantic reaction to ploughed fields and straight drainage ditches as he has to them himself.
— Francis Hodgson