Exhibition: CICA Museum, Seoul, 23 August to 10 Sept 2023


Exhibition: CICA Museum, Seoul, 23 August to 10 Sept 2023

Between States

Exhibition: CICA Museum, Seoul, 23 August to 10 Sept 2023

Wrong Turning

Exhibition: CICA Museum, Seoul, 23 August to 10 Sept 2023

Electricity Substation

Exhibition: Darkness, Decode Gallery, Tucson, Arizona, from July 8, 2023

The Long Road

Exhibition: Scene and Meaning, Valid World Hall Gallery, Barcelona, 20 - 27 March 2023


London Art Biennale 26 - 30 July 2023,
Scene and Meaning, Valid World Hall Gallery, Barcelona, 20-27 March


Published in Abridged 0_93: Terminus in connection with Belfast Photo Festival

Landscape Seascape

Exhibition: Form 2023, CICA Museum, Seoul, 1 -19 November 2023

Coffee Break

Exhibition: Form 2023, CICA Museum, Seoul, 1 -19 November 2023

The Sound of Water

Exhibition: Form 2023, CICA Museum, Seoul, 1 -19 November 2023

Roadside Debris

Exhibition: Upside Down, PH21 Gallery, Budapest, 9 March - 1 April 2023

Junction of Round Croft and Field Street, Willenhall

Exhibition: Blank Wall Gallery, Athens, 17 - 29 March 2023

Garston, Merseyside

Exhibition: Charnia International Photo Festival, 3 - 9 August 2023

Suburban Play Area in Winter Rain

Exhibition: Blank Wall Gallery, Athens, 13 - 25 January 2023

May Bank Holiday Weekend, Wallasey

Exhibition: Street Photography, Blank Wall Gallery, Athens, 13 - 25 January 2023

Foursome, 2016

Beach with Wheels, 2016

Pointing, 2012

Collision, circa 1984

Endgames, 2014

Rear Exit, 2012

Approaching Storm, 2017

Inside Outside, 1980

Untitled, 2011

Industrial landscape, 2011

Bus Shelter at Graythorpe, 2002

Invasion, 2011

Chess Set with Mop and other Artifacts, 2023

Phone mast and stars

Working Boot, 2016

Unit 3A, 2023

Office Interior, 2011

Industry, Lower Lee Valey, circa 1978

Untitled, 2008

Bus Shelter, 2017

Still Life, 2017

Seaweed, 2009

Bus and Tram Wires, 2022

Still Life, 2023

Urban Walkway, 2003

Untitled, 2009

Groom's Alley, 2022

Pathway, East London, 1991

Transgressed, 2022

Cash and Carry, 2023

Figure, 1988. (Photographed in Bermondsey)

Standing Feet, 2016

Trouble in the Street, 2023. (Composite Image)

Lonely Office, 2012

Power Lines and Flyover, 2017. (Photographed in Sandwell)

Entrance and Exit

Street Corner in Woolwich, 1988

Plain Surface, 2021

Suspect, 2020

Roadside and Sky, 2014. (Photographed in Flintshire)

Hidden View, 2011

Untitled, 2008. (Photographed in Flintshire)

Yellow Door, 2013. (Photographed in Wolverhampton)

Untitled, 2022. (Photographed in Orfordness)

Utititled, 2022. (Photographed in Hortonwood Industrial Estate, Telford)

Robert Brook has worked with a number of media including photography, experimental film-making, video, CGI and web development. Since 1990 he has mainly earned a living from editorial photography, including extensive documentation of environmental problems, interspersed with commercial assignments. He has previously studied at Derby College of Art, Goldsmiths College and Polytechnic of North London. His work has been published widely around the world, and exhibited in several countries.

Has been published in/exhibited at, or had work purchased by:

Aeon, BBC, BBD Perfect Storm, Black Rock, Blank Wall Gallery, Bloomberg, Blue Circle (Lafarge), Brian Duffy, British Medical Journal, Cambridge University Press, Camden (Montreal), Candid Arts, Carnegie Orr, Catch&Release, Centuar Communications, Chadwick House Group, CIPFA, Contemporary Art Society, Corbis Contemporary, Corriere della Sera, Czong Institute for Contemporary Art, Daily Express, Decode Gallery, Design Group Ltd, Discovery Museum, Dorling Kindersley, Edco, El Pais, Elsevier, Environment Agency, ERF Lorries, Evans Brothers, Evening Standard, Fleishman Hillard, Forschung und Lehre, Funny or Die, Gallerique, Gallery Oldham, Geographical Magazine, Getty Images Gallery, Goldsmiths, Green Futures Magazine, Greenpeace Communications, Grundy Art Gallery, GWS Interactive, Hachette, Harvard Business Review, HarperCollins, Harper's Bazaar, Haymarket, Hearst Communications, Heinmann, Hodder, Institute of Physics, IO Donna, John Peel, La Croix, la Repubblica, Liberation, Leo Burnett, Lincoln Museum, London Art Biennale, Macmillan, McCann, Manager Seminare, Midland Group Gallery, Morgan Stanley Creative Services, National Geographic, Natural History Museum of Los Angeles, New Scientist, NRC Media, Open University, Oxford University Press, PE Magazine, Penguin Books, PH21 Gallery, Pocket Books, Popular Mechanics, PHP Institute, RCNi, Reactions, Royal Society of Chemistry, RPS Group, SCI, Science Museum, Serpentine Gallery, Sky UK Ltd, Sonatine Editions, Sunday Telegraph, The&Partnership, The Daily Mail, The Guardian, The Lancet, The New European, The Onion, The Observer, The Times, Tribune, Whalerock, Whitechapel Gallery, Wunderman Thompson (Austin), Zooid Pictures, and others.                      contact                      close

Most of my photographic work is, in one way or another, environmental, whether that simply means attempts to evoke the facticity of particular environments, or depict the look of things impacted upon by human activity, especially industrial activity.

Back in the late 1970s I began taking photographs in London Streets, mainly in South London near where I lived, but rather than pursue the aesthetic of street theatre, it was the look of the streets themselves that was of interest. I then began to explore undeveloped areas of East London. One thing that interested me here was the way nature asserted its presence against a backdrop of decaying infrastructure – abandoned sewage and water treatment works, dysfunctional waterways, ageing factories and warehouses, abandoned homes. To some extent the point of all this was that there wasn't any point, except that nobody else seemed to be documenting it.

I had had several skirmishes with gallery walls (mainly the Serpentine), bemoaning the lack of impact small monochrome images had on large white spaces, but unable to see any other end use, I continued quietly while pursuing other career options. Then in 1990, I had a picture published in the Guardian of plastic debris along a bank of the Thames. This helped to precipitate a change of direction in favour of visual journalism, since when I have had work published regularly, both in the UK and around the world.

Over the past two decades, photography has, bit by bit, been transformed from a rather pure, but narrow, craft into something much more expansive, and without any obvious boundaries or rules. Now we can make, rather than take pictures, in a way that was never really possible in the days of darkroom printing and manipulation.

Robert Brook
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