Harry Cory Wright - East
For more than two decades, Harry Cory Wright has steadily cemented a significant position in the pantheon of landscape photography. Several solo exhibitions at Eleven Fine Art have garnered the praise of critics and collectors alike; Rachel Campbell-Johnston noted that: “These are not images to stand back and stare at. They are landscapes to step into. They ground you as you look.”
To date his work has largely focused on the British countryside and especially Norfolk where he lives, with its particular vistas looking north across sandflats and sea to sky. In the course of 2024, a dialogue between Harry and GBS Fine Art (with the blessing of his long-time dealer Eleven) led to a trip to Nantucket, one of the easternmost points of the continental US. Here he was implicitly drawn to look east back towards Europe. While it may be a natural instinct to face the rising sun, on a metaphysical level it harnessed the centuries of human movement back and forth across the Atlantic Ocean, from the Vikings and later the Portuguese in their quest for cod, to the early settlers with their own quest for some freedom of conscience and religious practice, to the great whaling fleets of the nineteenth century.
Cory Wright has always used a large format (8”” x 10”) analogue plate camera; “…it has an almost magical capacity to record much more than I can see.” And while the resulting detail is astonishing, it equally seems to have captured some sense of the innate nostalgia experienced by generations of sailors and travellers between the two continents. Moreover, it lends itself to presentation at scale, enabling the viewer to do as suggested by Cambell- Johnston, to literally step into the image and become as one with the landscape.
Still Time: The meditative landscape
A collaborative exhibition presented by Eleven Fine Art and GBS Fine Art
Wednesday 8th – Saturday 18th October 2025
Private View: Wednesday 8th October 6-8pm
@ 55 Hollywood Road, London SW10 9HX
Jeffrey Blondes and Harry Cory Wright are two contemporary artists whose meditative practices in landscape art over many years reveal an immersive and time-attuned engagement with the natural world. While they work in different media - Blondes with ultra-long-duration HD digital film and Cory Wright with large-format photography - both artists create contemplative, sensory-rich experiences that lure the viewer into extended observation and reflection. Until now they have been weaving that spell independently of each other; this exhibition provides a welcome opportunity for an audience to encounter side by side their differing approaches to the living landscape.
Jeffrey Blondes, although he began as a plein air painter, transitioned some 20 years ago to HD video, extending his original pictorial engagement with the landscape into real time. His films, often many hours long, are not meant to be watched in straight sittings, but lived with; playing slowly out, sometimes almost imperceptibly, in real time, in domestic or public spaces. All his work, whether shot close to home in France or across the globe, embodies durational attentiveness and scrutiny; observing light, weather and seasonal change unfold with near-scientific patience. His aim is not just visual documentation, but the creation of a temporal experience that aligns the viewer with the natural rhythms of the earth. In this way, Blondes becomes a “mediator” of a landscape that breathes and evolves, engaging the viewer in a slow re-calibration of time.
Harry Cory Wright’s photographs by contrast are grounded in a deep familiarity with the British landscape, in particular the tidal marshes of Norfolk, close to his home. Using a 10 x 8 large-format camera, his method is again slow and deliberate, requiring physical immersion in the landscape and a long process of setup and waiting. His work too celebrates the interplay of elemental forces - light, wind, water - seeking to convey those fleeting transitions in nature, from the gentle shift of tides to seasonal cycles. Cory Wright speaks of photography as capturing “pulses of nature,” and his images reflect a poetic restraint, allowing space, light, and time to infuse each scene. His landscapes, as Rachel Campbell-Johnston notes, are “less places than spaces” - emotive and open-ended, rich with the possibility of imaginative expansion.
East: Atlantic Ocean I; 7.04am 2024
Archival pigment print; 148 x 180 cm
Framed
Edition of 3 (smaller size available)
East: Atlantic Ocean V; 6.54am 2024
Archival pigment print; 148 x 180 cm
Framed
Edition of 3 (smaller size available)
East: Atlantic Ocean III; 6.55am 2024
Archival pigment print; 148 x 180 cm
Framed
Edition of 3 (smaller size available)
East: Atlantic Ocean II; 6.44am 2024
Archival pigment print; 83 x 100 cm
Framed
Edition of 7 (larger size available)
East: Atlantic Ocean VI; 7.17am 2024
Archival pigment print; 148 x 180 cm
Framed
Edition of 3 (smaller size available)
East: Atlantic Ocean VII; 7.12am 2024
Archival pigment print; 148 x 180 cm
Framed
Edition of 3 (smaller size available)
East: Atlantic Ocean IV; 6.39am 2024
Archival pigment print; 148 x 180 cm
Framed
Edition of 3 (smaller size available)
Prices available on request.