Joachim Brohm, April 2013

Brancolini Grimaldi gives Joachim Brohm a 30 year career retrospective which turns out to be partly an appreciation of one of Europe's earlier adopters of colour, and partly an attempt to ignite a re-appraisal. The suggestion that the 'artist's archive' can be developed and reviewed 'in the light of changes to the reality of our lives', actually suggests an anxiety that the work has lost a lot of its relevance as the art world has moved on.

The early works reflect the influence of the great 1970's American colourists Stephen Shore and Joel Sternfeld and they share a sensibility for anti-epic framing combined with refreshingly wayward selection of landscape subject, an approach that was never as formally rigorous as the Dusseldorf School.

Brohm's larger more recent big borderless prints are from his years on Culatra, a Portuguese island. Those past delicate observations made while passing through nowheresville towns are replaced with a deeper sense of belonging and from that a less distanced interest as he makes simpler, longer focal length photographs of centred objects. A boat, tractor or a house now seems to astound with its sunlit specificity.


Until 11th May 2013