Telegram is a not for profit gallery and small press supporting emerging painters, photographers and printmakers. In protest against the rising cost of rents, we hold exhibitions in borrowed spaces – from Bermondsey to Bloomsbury – with all sales profits going to our artists and toward future shows.
Telegram was founded by writer and curator Maria Howard in 2014.
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‘It’s armchair landscape. Sometimes I get to see a place before or after I’ve had dealings with it but it doesn’t necessarily make a difference to what I do.’
Alberta Bamonte is a painter, draughtsman and printmaker. Her recent work is derived from satellite images of the earth with a focus on environmental issues. The paintings in the Badlandscapes series call our attention to the destruction of natural landscapes as a result of greenhouse gases or aggressive industry at the same time highlighting the beauty of the landscapes left behind.
‘The element of landscape photography that I love is not about capturing a place as it is in reality and displaying it – I get more excited about using the landscape as a tool to create something new, something abstract and autonomous.’
Hannah Devereux is a landscape photographer who travels the world seeking out places with a powerful presence, whether it’s the icefields of Alaska or the hills of the Lake District. At the same time she explores the abstract in landscape, focusing on extreme details of a mountain or body of water to remove the context and scale of a place.
‘It's hard to think about landscape without technology. It's ever present. A phone in front of you or a plane in the sky. For me they have become synonymous with each other’
Will Jenkinson is a painter and filmmaker. His latest work explores how landscape, memory and technology are linked through the ubiquitous presence of the smartphone camera. His paintings are abstract, but the starting point is always the captured image.
‘I’m interested in the idea that there is memory stored in landscape, in places and in buildings. Lewis is seen as this wilderness, a bleak empty nothingness – that’s what a lot of the developers talked about it as – but for the people that live there it’s in them.’
Lynda Laird is a photographer and filmmaker who uses the land itself to make images. For her Comharradh series she submerged exposed paper into the waterways of Lewis – a Scottish island under threat from developers – to create unique prints that capture the abstract beauty of the moors and the culture was born from this landscape. These will be shown alongside videos made on the island.
‘The great thing about industrial landscapes is the little snippets of beauty that come and go – you never know what you’re going to find.’
Chris Stevens trained as a graphic designer before turning to photography. He is based in South East London and takes inspiration from the urban and industrial landscapes near his home, finding intriguing details where many would only see the mundane.
‘Storm shows the ocean in a darker light, one we may not expect to see. Australia is often known for its clear blue waters and sunny skies. The reality can sometimes be very different and in turn can have an effect on one’s mood.’
Hayley Nia Thomas is primarily a portrait photographer but much of her work explores the relationship between sitter and landscape. She recently spent six months living in Australia where she photographed the ocean in black and white, offering an intriguing contrast to the familiar image of colour saturated surf photography.