From series Signs of A Struggle A black and white photograph of a parked car at night. One of the front doors is open, the front seat is covered with foil and there are large dark stains on the ground in front of the car. The print is mounted onto a slightly yellowed cardboard.
In Conversation with Fergus Heron, Wednesday 14th October University of Brighton.
In Conversation with Helen Sear , Tuesday 10th November, Chapel Lecture Theatre. Penryn Campus. (pictured)
In Conversation with Duncan Wooldridge 23rd November Camberwell College of Arts, London. (pictured)
“There is always something odd – in a good way – about Strand’s work. That oddity rests in the tension between her often personal, always playful take on conceptualism and her wilfully old-fashioned methods – the archive images, black-and-white tones and kinetic machines here are a case in point.”
Artist as Archivist section. Other artists include WALID RAAD, AKRAM ZAATARI, FREDERIC BRULY BOUABRE,ELISABETTA BENASSI, HASSAN DARSI AND ROSANGELA RENNO.
Betterment Rooms, Devices for Measuring Achievement by Clare Strand (pictured) MediaSpace, Science Museum, London. Group Show Walead Beshty, Ori Gersht, Sharon Harper, Joris Jansen, Idris Khan, Trevor Paglen, Sarah Pickering, Clare Strand and Hiroshi Sugimoto.
Gone Astray Portraits by Clare Strand (pictured). Work, Rest, Play features over 400 images by thirty-eight acclaimed photographers and artists, presents a broad range of photographic practices, reflects upon the changing face of British culture over the last 50 years. The Gone Astray Portraits, (2002-3), may appear to faithfully reference the conventions of 19th century street portraiture yet on closer inspection the sitters are not regular street folk but a pre-selected cast, dressed by the photographer, and assigned props. The title, taken from Charles Dickens’ novella Gone Astray, 1853, ruminates on being lost in the city of London and the drama and pretense of the urban street.
Flatland/ Spaceland (Black) by Clare Strand .
Group show with. Juliana Borinski, Delphine Burtin, Pascal Convert, Marina Gadonneix, Mark Geffriaud, Agnès Geoffray, Isabelle Giovacchini, Nicolas Giraud, Isabelle Le Minh, Mathieu Mercier, Aurélien Mole, Constance Nouvel, Silvana Reggiardo, Clare Strand, Maxime Thieffine#centre photographique d'lle-de France.
5 Indicative Images (2015) housed in the High Road House collection, Chiswick, London. Read More
In memory of the lovely and courageous Cathy Edwards.
“I’ve always learnt from fashion imagery,” says artist Clare Strand. “I like its freedom to embrace the absurd, and its refusal to provide any answers.” This story invokes Strand’s current fascinations: the Surrealist Movement and the infamous Black Dahlia murder case. The gentle folk-inspired fashion chosen by AnOther’s fashion director Cathy Edwards offsets the macabre faceless figures and hybrid beings floating in space
Photography and artwork Clare Strand Styling Cathy Edwards
Let’s look at the facts. A man in a dark suit in a dark alleyway
holds a divining rod. A woman stands on a gridded mat, her fingers wired
for some kind of monitoring. A girl’s head and arms poke out of one
cardboard box while her legs extend from another, like a magician’s
trick. A figure shrouded in a black sheet festooned with stars stands on
an office desk for what might be a performance or a perverse kind of
Clare Strand is an eclectic artist drawing on a broad range
of photographic lineages. From forensics to the spiritual,
Strand gracefully intertwines the practical and the absurd,
constantly questioning photography’s declining evidential
The intention of Further Reading is not to position practice in retrospect or to celebrate
individual works, but to make an exhibition of overview in totality, concerning the
crossovers, conflicts and serendipity generated between process and practice.
Retouch: 12mm Punched Holes 87% Open
Wunderkammer (pictured) by Clare Strand from (Mis) Understanding Photography
“Photography to me is like an elasticated waistband. It can and should expand and adapt to accommodate different forms but can just as well ping right back to its original shape. Neither fitting is particularly right or wrong – just different comfort levels for the wearer” Clare Strand.
When I was young, I was enthralled by the idea of young women being able to sense the paranormal – like in the movies Poltergeist and Carrie. I used to watch Paul Daniels on TV and when I asked my parents how he did his magic, they’d say it was all done by trick photography.
Clare Strand’s project The Seven Basic Propositions uses taglines from a selection of 1950’s Kodak magazine adverts. These ‘propositions’ point to the early excitement about the possibilities for photography as a mass participatory medium.