Fourth Plinth

As part of our commitment to the local community and the arts, we have dedicated the wall space in the entrance foyer and meeting rooms at our 5-8 Broad Street office as a gallery for up-and-coming artists. Every three months on a rotation basis, we display the work of a single artist from Bristol or the surrounding areas. We have called this "The Fourth Plinth".

The artwork will be on display for all of our clients who come through the doors with numerous daily meetings, trials and conferences so the footfall is quite considerable. The artist displaying their work can display their information in the foyer as well as business cards, information sheets and a price list that clients can pick up and take away.

Currently we are displaying work by Hugh Burden

Hugh Burden Bio:

"My photography career spans just about four decades. Over this period I have specialised in several genres of photography, chronologically being: Medical and Biological Illustrator, Advertising Food and Still Life Photographer, Room Set, People, Interiors and Environments Photographer.

It was late 2016 and early 2017 I took to making  serious fine art images, after a period of struggling to throw off a strong commercial discipline. The very discipline that contributed to a successful photography career clouded my ability to make images for myself. The breakthrough came by way of exploring textures and shapes that I was noticing around me. I have always seen objects or patterns in otherwise unrelated objects; its called pareidolia. For example, lichen on a wall can be an underwater scene, intricate wood fungus is a magical forest, shadows and stains on a wall may suggest trees and a rural landscape.

In making my photographs I can see in some part the influences of the great Masters of Art and Photography but mostly they reflect a childlike imagination. Perhaps memories of adventures, buried treasure, sea and air escapades, ripping yarns which enthralled me as a boy. Books were doors to adventure and excitement. My bike a vehicle to access the countryside, woodlands, building sites, lakes-serendipitous journeys of wonder. 

My way of working involves pre visualisation, in the first instance I have to interpret the shapes and textures initially photographed and find real life objects and scenes to compliment. Three to ten images commonly are used in the constructs, overlaid and manipulated in Photoshop until the story is revealed.

Making photographs with this narrative has unleashed a 'force majeure', the seed of which was undoubtedly sown and been gestating since my boyhood years.

 For more information and examples of Hugh's work plesae visit his webiste