Wallasey
Exhibition: CICA Museum, Seoul, 23 August to 10 Sept 2023
Footfall
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
Floaters
Exhibitions:
London Art Biennale 26 - 30 July 2023,
Scene and Meaning, Valid World Hall Gallery, Barcelona, 20-27 March
Paradoxical
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.