Max Colson
£0.00
Max Colson’s practice develops innovative photographic processes to document hidden architectures and landscapes that relate to the UK’s national story. He works across photography and moving image.
His work often blurs the lines between traditional documentary photography techniques and opportunities afforded by new technologies such as 3D scanning and photorealistic computer graphics. By combining traditional photographic processes with technologies from what is becoming known as the ‘expanded photographic field’, he creates work that challenges current parameters of photographic documentation.
Colson’s recent cyanotype print series ‘Offshore Capital’, draws on five years of work using a 3D lidar laser scanner to scan properties in London covertly owned by shell companies based in offshore tax havens. These prints subvert the historic form and function of the cyanotype printing process, once used to create the architectural blueprints, using it instead to outline partial images and incomplete shapes rendered from the facades of these ‘ghost houses’ that are 3D scannable from public space.
Colson graduated from the London College of Communication in 2013 with an MA in Photojournalism and Documentary Photography. Highlights of recent recognition his work has received include: the 2023 Film London Lodestar award; twice finalist in the Lumen Prize for Art and Technology.
Colson has exhibited widely since 2013 in a number of solo shows as well as group presentations. Highlights include, the Royal Institute of British Architects, The Photographer’s Gallery and VITRINE.
His work often blurs the lines between traditional documentary photography techniques and opportunities afforded by new technologies such as 3D scanning and photorealistic computer graphics. By combining traditional photographic processes with technologies from what is becoming known as the ‘expanded photographic field’, he creates work that challenges current parameters of photographic documentation.
Colson’s recent cyanotype print series ‘Offshore Capital’, draws on five years of work using a 3D lidar laser scanner to scan properties in London covertly owned by shell companies based in offshore tax havens. These prints subvert the historic form and function of the cyanotype printing process, once used to create the architectural blueprints, using it instead to outline partial images and incomplete shapes rendered from the facades of these ‘ghost houses’ that are 3D scannable from public space.
Colson graduated from the London College of Communication in 2013 with an MA in Photojournalism and Documentary Photography. Highlights of recent recognition his work has received include: the 2023 Film London Lodestar award; twice finalist in the Lumen Prize for Art and Technology.
Colson has exhibited widely since 2013 in a number of solo shows as well as group presentations. Highlights include, the Royal Institute of British Architects, The Photographer’s Gallery and VITRINE.
Max Colson’s practice develops innovative photographic processes to document hidden architectures and landscapes that relate to the UK’s national story. He works across photography and moving image.
His work often blurs the lines between traditional documentary photography techniques and opportunities afforded by new technologies such as 3D scanning and photorealistic computer graphics. By combining traditional photographic processes with technologies from what is becoming known as the ‘expanded photographic field’, he creates work that challenges current parameters of photographic documentation.
Colson’s recent cyanotype print series ‘Offshore Capital’, draws on five years of work using a 3D lidar laser scanner to scan properties in London covertly owned by shell companies based in offshore tax havens. These prints subvert the historic form and function of the cyanotype printing process, once used to create the architectural blueprints, using it instead to outline partial images and incomplete shapes rendered from the facades of these ‘ghost houses’ that are 3D scannable from public space.
Colson graduated from the London College of Communication in 2013 with an MA in Photojournalism and Documentary Photography. Highlights of recent recognition his work has received include: the 2023 Film London Lodestar award; twice finalist in the Lumen Prize for Art and Technology.
Colson has exhibited widely since 2013 in a number of solo shows as well as group presentations. Highlights include, the Royal Institute of British Architects, The Photographer’s Gallery and VITRINE.
His work often blurs the lines between traditional documentary photography techniques and opportunities afforded by new technologies such as 3D scanning and photorealistic computer graphics. By combining traditional photographic processes with technologies from what is becoming known as the ‘expanded photographic field’, he creates work that challenges current parameters of photographic documentation.
Colson’s recent cyanotype print series ‘Offshore Capital’, draws on five years of work using a 3D lidar laser scanner to scan properties in London covertly owned by shell companies based in offshore tax havens. These prints subvert the historic form and function of the cyanotype printing process, once used to create the architectural blueprints, using it instead to outline partial images and incomplete shapes rendered from the facades of these ‘ghost houses’ that are 3D scannable from public space.
Colson graduated from the London College of Communication in 2013 with an MA in Photojournalism and Documentary Photography. Highlights of recent recognition his work has received include: the 2023 Film London Lodestar award; twice finalist in the Lumen Prize for Art and Technology.
Colson has exhibited widely since 2013 in a number of solo shows as well as group presentations. Highlights include, the Royal Institute of British Architects, The Photographer’s Gallery and VITRINE.
Max Colson’s practice develops innovative photographic processes to document hidden architectures and landscapes that relate to the UK’s national story. He works across photography and moving image.
His work often blurs the lines between traditional documentary photography techniques and opportunities afforded by new technologies such as 3D scanning and photorealistic computer graphics. By combining traditional photographic processes with technologies from what is becoming known as the ‘expanded photographic field’, he creates work that challenges current parameters of photographic documentation.
Colson’s recent cyanotype print series ‘Offshore Capital’, draws on five years of work using a 3D lidar laser scanner to scan properties in London covertly owned by shell companies based in offshore tax havens. These prints subvert the historic form and function of the cyanotype printing process, once used to create the architectural blueprints, using it instead to outline partial images and incomplete shapes rendered from the facades of these ‘ghost houses’ that are 3D scannable from public space.
Colson graduated from the London College of Communication in 2013 with an MA in Photojournalism and Documentary Photography. Highlights of recent recognition his work has received include: the 2023 Film London Lodestar award; twice finalist in the Lumen Prize for Art and Technology.
Colson has exhibited widely since 2013 in a number of solo shows as well as group presentations. Highlights include, the Royal Institute of British Architects, The Photographer’s Gallery and VITRINE.
His work often blurs the lines between traditional documentary photography techniques and opportunities afforded by new technologies such as 3D scanning and photorealistic computer graphics. By combining traditional photographic processes with technologies from what is becoming known as the ‘expanded photographic field’, he creates work that challenges current parameters of photographic documentation.
Colson’s recent cyanotype print series ‘Offshore Capital’, draws on five years of work using a 3D lidar laser scanner to scan properties in London covertly owned by shell companies based in offshore tax havens. These prints subvert the historic form and function of the cyanotype printing process, once used to create the architectural blueprints, using it instead to outline partial images and incomplete shapes rendered from the facades of these ‘ghost houses’ that are 3D scannable from public space.
Colson graduated from the London College of Communication in 2013 with an MA in Photojournalism and Documentary Photography. Highlights of recent recognition his work has received include: the 2023 Film London Lodestar award; twice finalist in the Lumen Prize for Art and Technology.
Colson has exhibited widely since 2013 in a number of solo shows as well as group presentations. Highlights include, the Royal Institute of British Architects, The Photographer’s Gallery and VITRINE.
