The Edge of Forever
Emma McNally, Alison Turnbull
13 Jun—6 Sep 2025The Edge of Forever is an exhibition of paintings by Alison Turnbull and drawings by Emma McNally. The title is borrowed from the planetary scientist Carl Sagan’s 1980’s book Cosmos.
"Enmeshed in infinities, artists and scientists conjure with the universe from within the confines of the human body, under the deadlines imposed by a limited lifespan.", writes Dava Sobel (author of Longitude) in her accompanying text. "They apply mathematics and imagination. They detect tremors emanating from collisions between the most massive dying stars. They hear the music of the spheres."
Emma McNally’s meticulous drawings suggest maps or charts of things as complex and various as seas, the night sky, military bases, computer circuit boards, flight paths. "For me drawing is a rhythmic material sounding of inseparability. ‘Song X’ series is staying with the trouble of the edge, the border: an attempt at a dynamic reformulation. Maybe forever (always, all ways) abides in the scrambling of the idea of the edge, which is to say, in borderlessness, inseparability, indeterminacy, entanglement, rhythm, deep field."
Alison Turnbull's expansive painting series 'eXtreme Deep Field' derives from a composite astronomical image made using the Hubble Space Telescope, eXtreme Deep Field. For Turnbull the Hubble image, has a strong relationship with painting: "It’s a picture of time that is very densely constructed; if you looked out through a telescope you would never actually see this, and it moves photography far beyond the question of analogue or digital… Here the notion of the 'onement' of painting is set against the infinity of the image."
Emma McNally (b. 1969, Essex) lives and works in London. McNally studied Philosophy and Literature at the University of York before continuing her thinking visually through drawing. Recent group and solo exhibitions include: The Drawing Room, London, UK (2024); ‘Afterness’, Artangel / National Trust, Orford Ness, UK (2021); 20th Biennale of Sydney, AU (2016) and ‘The form of the Form’; Lisbon Architecture Triennale (2016); ‘Mirrorcity’, Hayward Gallery, London, UK (2015); ‘Seeing/Knowing’, Kenyon College of Liberal Arts, Ohio, US (2011).
Alison Turnbull, (b. 1956, Bogotá, Colombia) lives and works in London. Turnbull transforms readymade information – plans, diagrams, blueprints, charts – into abstract paintings. Selected solo and group exhibitions include Casas Riegner, Bogotá (2025); Inverleith House, Edinburgh (2022); Many Minute Attentions, co-curated by Alison Turnbull and John Stezaker, Large Glass (2021); Ikon Gallery, Birmingham (2021); Saicoro, Tokyo (2020); Matt’s Gallery, London (2018); Five Easy Pieces, Large Glass, London; (2017); Turner Contemporary, Margate (2016); De La Warr Pavilion, Bexhill (2014); Talbot Rice Gallery, Edinburgh (2012).
"Enmeshed in infinities, artists and scientists conjure with the universe from within the confines of the human body, under the deadlines imposed by a limited lifespan.", writes Dava Sobel (author of Longitude) in her accompanying text. "They apply mathematics and imagination. They detect tremors emanating from collisions between the most massive dying stars. They hear the music of the spheres."
Emma McNally’s meticulous drawings suggest maps or charts of things as complex and various as seas, the night sky, military bases, computer circuit boards, flight paths. "For me drawing is a rhythmic material sounding of inseparability. ‘Song X’ series is staying with the trouble of the edge, the border: an attempt at a dynamic reformulation. Maybe forever (always, all ways) abides in the scrambling of the idea of the edge, which is to say, in borderlessness, inseparability, indeterminacy, entanglement, rhythm, deep field."
Alison Turnbull's expansive painting series 'eXtreme Deep Field' derives from a composite astronomical image made using the Hubble Space Telescope, eXtreme Deep Field. For Turnbull the Hubble image, has a strong relationship with painting: "It’s a picture of time that is very densely constructed; if you looked out through a telescope you would never actually see this, and it moves photography far beyond the question of analogue or digital… Here the notion of the 'onement' of painting is set against the infinity of the image."
Emma McNally (b. 1969, Essex) lives and works in London. McNally studied Philosophy and Literature at the University of York before continuing her thinking visually through drawing. Recent group and solo exhibitions include: The Drawing Room, London, UK (2024); ‘Afterness’, Artangel / National Trust, Orford Ness, UK (2021); 20th Biennale of Sydney, AU (2016) and ‘The form of the Form’; Lisbon Architecture Triennale (2016); ‘Mirrorcity’, Hayward Gallery, London, UK (2015); ‘Seeing/Knowing’, Kenyon College of Liberal Arts, Ohio, US (2011).
Alison Turnbull, (b. 1956, Bogotá, Colombia) lives and works in London. Turnbull transforms readymade information – plans, diagrams, blueprints, charts – into abstract paintings. Selected solo and group exhibitions include Casas Riegner, Bogotá (2025); Inverleith House, Edinburgh (2022); Many Minute Attentions, co-curated by Alison Turnbull and John Stezaker, Large Glass (2021); Ikon Gallery, Birmingham (2021); Saicoro, Tokyo (2020); Matt’s Gallery, London (2018); Five Easy Pieces, Large Glass, London; (2017); Turner Contemporary, Margate (2016); De La Warr Pavilion, Bexhill (2014); Talbot Rice Gallery, Edinburgh (2012).
Emma McNally
Alison Turnbull
Enquiries
sales: Charlotte Schepke
info: Gabrielle Slack-Smith
Exhibition Text
‘The Edge of Forever’, Dava Sobel, June 2025
Alison Turnbull
Enquiries
sales: Charlotte Schepke
info: Gabrielle Slack-Smith
Exhibition Text
‘The Edge of Forever’, Dava Sobel, June 2025
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The Photography Show presented by AIPAD 2025
24 – 27 April 2025
Preview Day 23 April (invitation only)
Booth B11
Park Avenue Amory
New York City
https://www.aipad.com/show
For the Photography Show in New York, in April we will show Guido Guidi’s work in a collection entitled the Vernacular - capturing his brilliant visualising of the everyday.
In an interview in 2015, published in Aperture Magazine (220), Guidi was asked about his sense for the vernacular which he shares with the American artist photographer, Lee Friedlander’s work, “I remember that I had seen Friedlander’s name in Ugo Mulas’s photobook New York: The New Art Scene (1967). As soon as Friedlander’s Self Portrait came out in 1970, I bought it, but it was only on the occasion of the lone photography biennial, Venice ’79, that I was able to meet him. That was when I heard him talk about the vernacular. He said he wasn’t interested in art photography, but in the vernacular photograph, in the snapshot. I could relate to this, of course, since I had grown up with the family photographs shot by my uncle, who had them printed at the photography store before gluing them into an album.”
Alongside Guidi we show ‘Coast to Coast’, by Swedish photographer Gerry Johansson. This portfolio comprises 10 gelatin silver contact prints, produced by Imagebeeld Edition, Brussels. The photographs were taken during a coast-to-coast long trip in 1983 beginning in Los Angeles and ending in New York.
In an interview in 2015, published in Aperture Magazine (220), Guidi was asked about his sense for the vernacular which he shares with the American artist photographer, Lee Friedlander’s work, “I remember that I had seen Friedlander’s name in Ugo Mulas’s photobook New York: The New Art Scene (1967). As soon as Friedlander’s Self Portrait came out in 1970, I bought it, but it was only on the occasion of the lone photography biennial, Venice ’79, that I was able to meet him. That was when I heard him talk about the vernacular. He said he wasn’t interested in art photography, but in the vernacular photograph, in the snapshot. I could relate to this, of course, since I had grown up with the family photographs shot by my uncle, who had them printed at the photography store before gluing them into an album.”
Alongside Guidi we show ‘Coast to Coast’, by Swedish photographer Gerry Johansson. This portfolio comprises 10 gelatin silver contact prints, produced by Imagebeeld Edition, Brussels. The photographs were taken during a coast-to-coast long trip in 1983 beginning in Los Angeles and ending in New York.
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Mario Cresci:
Geometries / Epiphanies
14 Mar—24 May 2025Geometries / Epiphanies is the first exhibition of work by the Italian photographer Mario Cresci (b. 1942) in the UK. The selection shows Cresci’s experimental photography practice, which draws inspiration from Pop Art, Conceptual art and Industrial design, and his long-term artistic project documenting the southern Italian town of Matera.
In the early 1970s, Cresci collaborated with the interdisciplinary research group Polis to produce an urban study of Tricarico, a village close to Matera, the territory had become a symbol of southern Italian ‘backwardness’ in the years following the publication of Carlo Levi’s memoir ‘Cristo si è fermato a Eboli’. Cresci was encouraged to use his camera to open dialogues with local residents and give them an opportunity to represent themselves through their histories and traditions, such as farming and craftsmanship. The project resulted in a series of images that continue to be influential in Cresci’s artistic practice to this day. During his many years in Matera, Cresci focused on the region’s material culture, particularly the objects crafted by local artisans, such as tools and hand-carved wooden toys, which the artist interpreted as a portal to the town’s culture, memory, and sentiment.
Cresci also developed his experimental photography techniques in work outside of Matera. In 1968 the artist moved to Rome, where the L’Attico gallery commissioned him to photograph exhibitions of leading figures in the Italian art scene at the time, including Pino Pascali, Jannis Kounellis, Eliseo Mattiacci, Michelangelo Pistoletto, and Alighiero Boetti. Here he developed the conviction that photography could no longer be simply exhibited by hanging it on a wall.
Many artists have sought to push photographic language beyond its "traditional" boundaries by engaging with conceptual art and experimentation and in Cresci’s case, he has found new technological alphabets while staying deeply connected to the nature and culture of places—though never in a didactic way. His vision always holds a spark that surprises us and which is capable of offering true epiphanies.
Mario Cresci, born 1942 in Chiavari, Italy, lives and works in Bergamo. Cresci attended the school of Industrial Design in Venice, and currently teaches at the ISIA University in Urbino. He has held solo exhibitions at major museums and institutions including MAXXI, Museo Nazionale delle Arti del XXI secolo, Rome; GAM, Galleria d'Arte Moderna and CAMERA, Centro Italiano per la Fotografia, Turin; GAMeC, Galleria d'Arte Moderna e Contemporanea, Bergamo. His work was included in the recent REVERSING THE EYE, Arte Povera and Beyond 1960-75: Photography, Film, Video exhibition at Jeu de Paume, Paris.
Important publications include Matera. Images and Documents (1975), Measurements. Photography and Territory (1979) and Segni Migranti. Storia di grafica e fotografia (2019), winner of the Prix du Livre Historique, at Les Rencontres Arles in 2020.
Luca Fiore is a writer, critic and curator of photography based in Milan, Italy. He is a regular contributor to Aperture, Il Foglio, Domani, Il Giornale dell’Arte and Tracce. He curated the exhibition ‘Mon cher Abbé Bionaz! Mario Cresci for the Aosta Valley’, at Museo Castello Gamba in Châtillon in 2023.
In the early 1970s, Cresci collaborated with the interdisciplinary research group Polis to produce an urban study of Tricarico, a village close to Matera, the territory had become a symbol of southern Italian ‘backwardness’ in the years following the publication of Carlo Levi’s memoir ‘Cristo si è fermato a Eboli’. Cresci was encouraged to use his camera to open dialogues with local residents and give them an opportunity to represent themselves through their histories and traditions, such as farming and craftsmanship. The project resulted in a series of images that continue to be influential in Cresci’s artistic practice to this day. During his many years in Matera, Cresci focused on the region’s material culture, particularly the objects crafted by local artisans, such as tools and hand-carved wooden toys, which the artist interpreted as a portal to the town’s culture, memory, and sentiment.
Cresci also developed his experimental photography techniques in work outside of Matera. In 1968 the artist moved to Rome, where the L’Attico gallery commissioned him to photograph exhibitions of leading figures in the Italian art scene at the time, including Pino Pascali, Jannis Kounellis, Eliseo Mattiacci, Michelangelo Pistoletto, and Alighiero Boetti. Here he developed the conviction that photography could no longer be simply exhibited by hanging it on a wall.
Many artists have sought to push photographic language beyond its "traditional" boundaries by engaging with conceptual art and experimentation and in Cresci’s case, he has found new technological alphabets while staying deeply connected to the nature and culture of places—though never in a didactic way. His vision always holds a spark that surprises us and which is capable of offering true epiphanies.
Mario Cresci, born 1942 in Chiavari, Italy, lives and works in Bergamo. Cresci attended the school of Industrial Design in Venice, and currently teaches at the ISIA University in Urbino. He has held solo exhibitions at major museums and institutions including MAXXI, Museo Nazionale delle Arti del XXI secolo, Rome; GAM, Galleria d'Arte Moderna and CAMERA, Centro Italiano per la Fotografia, Turin; GAMeC, Galleria d'Arte Moderna e Contemporanea, Bergamo. His work was included in the recent REVERSING THE EYE, Arte Povera and Beyond 1960-75: Photography, Film, Video exhibition at Jeu de Paume, Paris.
Important publications include Matera. Images and Documents (1975), Measurements. Photography and Territory (1979) and Segni Migranti. Storia di grafica e fotografia (2019), winner of the Prix du Livre Historique, at Les Rencontres Arles in 2020.
Luca Fiore is a writer, critic and curator of photography based in Milan, Italy. He is a regular contributor to Aperture, Il Foglio, Domani, Il Giornale dell’Arte and Tracce. He curated the exhibition ‘Mon cher Abbé Bionaz! Mario Cresci for the Aosta Valley’, at Museo Castello Gamba in Châtillon in 2023.
Mario Cresci
Enquiries
press: Sam Talbot PR
sales: Charlotte Schepke
info: Large Glass
Press
The Guardian: ‘Mario Cresci review: - mind bending tricks from an iconoclast’, Charlotte Jansen, 18 March 2025
Art Monthly No. 486: Review, ‘Mario Cresci Geometries / Epiphanies, Andrew Chesher, May 2025
Financial Times Magazine: ‘Gallery, Mario Cresci’, Josh Lustig, May 17 2025
The Brooklyn Rail: ‘Artseen, Mario Cresci: Geometries / Epiphanies’, Bartolomeo Sala, May 2025
Exhibition Text
‘Geometries/Epiphanies: Mario Cresci’, Luca Fiore, 14 Mar 2025
Enquiries
press: Sam Talbot PR
sales: Charlotte Schepke
info: Large Glass
Press
The Guardian: ‘Mario Cresci review: - mind bending tricks from an iconoclast’, Charlotte Jansen, 18 March 2025
Art Monthly No. 486: Review, ‘Mario Cresci Geometries / Epiphanies, Andrew Chesher, May 2025
Financial Times Magazine: ‘Gallery, Mario Cresci’, Josh Lustig, May 17 2025
The Brooklyn Rail: ‘Artseen, Mario Cresci: Geometries / Epiphanies’, Bartolomeo Sala, May 2025
Exhibition Text
‘Geometries/Epiphanies: Mario Cresci’, Luca Fiore, 14 Mar 2025
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Hélène Binet: Oscillations
from Villa Saraceno to Lunuganga Garden
6 Dec—31 Jan 2025Oscillations is Hélène Binet’s second solo show at Large Glass. A newly commissioned text by Emily LaBarge accompanies the exhibition, an excerpt of which below:
There are lines straight and curved, sometimes both, or indeterminate, bulging here only to pursue an even course there, or take a gentle slope, or turn a corner, or overlap with other lines and shapes, straights and narrows, to form composite configurations, or breaking off here and there and then passing out of the frame somewhere into the distance where they may or may not continue, up or down, rounded or even, you choose. There is light and dark and lighter and darker and lightest and darkest, because, after all, this is what photography consists of, along with time and its passage — an eternal oscillation that shapes how and what we see.
A view inside a view, a door inside a door, a column behind a column behind a column bisecting an elegant arched doorway, exacting Renaissance proportions, sightlines from one side of a Palazzo to another, and then the other side to the other, as if presenting apertures within apertures for the aperture of the camera to close upon and seize. In Hélène Binet’s work, repetition, rhythm, sequence, and seriality are the order of the day, none of which are possible without the passage of time — and with it, light, ever the photographer’s loyal source. She refers to her projects, most of which take place in specific architectural locations, as essays, the form that is, in its best iterations, famously mobile, intuitive, wayward, proceeding slowly, with curiosity, according to a perceived logic that cannot be forced or quickened. It is, in short, akin to looking, hard, carefully, again and again, and waiting to see what happens.
Hélène Binet, born 1959 in Sorengo, Switzerland, lives in London.
Binet studied photography at the Instituto Europeo di Design in Rome. Over the past 40 years, she has travelled the world to photograph historic and contemporary buildings, as well as projects in the making. Her work has been exhibited at distinguished museums and institutions internationally, including the Salone del Mobile in Milan; Royal Academy of Arts in London; Power Station of Art, in Shanghai; Bauhaus Archive in Berlin and the 13th International Architecture Biennale di Venezia. She has produced a large number of books including the recently published ‘Hélène Binet’ by Marco Iuliano and Martino Stierli (Lund Humphries).
Binet is the recipient of the 2019 Ada Louise Huxtable Prize. She was made an Honorary Fellow of the Royal Institute of British Architects in 2007.
Emily LaBarge is a Canadian writer based in London. She is a regular contributor to the New York Times and 4Columns. Her first book, Dog Days, will be published in the UK by Peninsula Press in 2025.
There are lines straight and curved, sometimes both, or indeterminate, bulging here only to pursue an even course there, or take a gentle slope, or turn a corner, or overlap with other lines and shapes, straights and narrows, to form composite configurations, or breaking off here and there and then passing out of the frame somewhere into the distance where they may or may not continue, up or down, rounded or even, you choose. There is light and dark and lighter and darker and lightest and darkest, because, after all, this is what photography consists of, along with time and its passage — an eternal oscillation that shapes how and what we see.
A view inside a view, a door inside a door, a column behind a column behind a column bisecting an elegant arched doorway, exacting Renaissance proportions, sightlines from one side of a Palazzo to another, and then the other side to the other, as if presenting apertures within apertures for the aperture of the camera to close upon and seize. In Hélène Binet’s work, repetition, rhythm, sequence, and seriality are the order of the day, none of which are possible without the passage of time — and with it, light, ever the photographer’s loyal source. She refers to her projects, most of which take place in specific architectural locations, as essays, the form that is, in its best iterations, famously mobile, intuitive, wayward, proceeding slowly, with curiosity, according to a perceived logic that cannot be forced or quickened. It is, in short, akin to looking, hard, carefully, again and again, and waiting to see what happens.
Hélène Binet, born 1959 in Sorengo, Switzerland, lives in London.
Binet studied photography at the Instituto Europeo di Design in Rome. Over the past 40 years, she has travelled the world to photograph historic and contemporary buildings, as well as projects in the making. Her work has been exhibited at distinguished museums and institutions internationally, including the Salone del Mobile in Milan; Royal Academy of Arts in London; Power Station of Art, in Shanghai; Bauhaus Archive in Berlin and the 13th International Architecture Biennale di Venezia. She has produced a large number of books including the recently published ‘Hélène Binet’ by Marco Iuliano and Martino Stierli (Lund Humphries).
Binet is the recipient of the 2019 Ada Louise Huxtable Prize. She was made an Honorary Fellow of the Royal Institute of British Architects in 2007.
Emily LaBarge is a Canadian writer based in London. She is a regular contributor to the New York Times and 4Columns. Her first book, Dog Days, will be published in the UK by Peninsula Press in 2025.
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Paris Photo 2024
Main Sector, Booth B11
7 – 10 November 2024
Preview Day 6 November (invitation only)
Grand Palais
3 avenue du Général Eisenhower
75008 Paris
www.parisphoto.com
For Paris Photo 2024, Large Glass presents a solo show of works by American photographer Mark Ruwedel. We spotlight Ruwedel’s on-going project ‘Los Angeles: Landscapes of Four Ecologies’ (2014- ) with the title making reference to British architectural critic Reyner Banham’s 1971 book, Los Angeles: The Architecture of Four Ecologies).
For three decades, Mark Ruwedel has photographed American deserts and wild spaces that bear traces of human intervention: abandoned remains of early railway lines, brightly sinister nuclear test sites, ruined desert homes outside Los Angeles. “I have come to think of the land as being an enormous historical archive,” he wrote in 1996. “I am interested in revealing the narratives contained within the landscape, especially those places where the land reveals itself as being both an agent of change and the field of human endeavour.”
For the Project, Ruwedel has identified four overlapping landscape ‘systems’: The Rivers, The Eastern Edge, The Hills and Canyons, and The Western Edge. His work captures the dynamic landscapes of the greater LA metropolitan area, shaped by floods, fires, earthquakes and landslides; a place overwritten by industry, irrigation, urban planning and abiding fantasies about authentic wilderness.
Mark Ruwedel has won numerous awards for this outstanding work, including the Scotiabank Photography Award and a Guggenheim Fellowship (both 2014). He was shortlisted for the Deutsche Börse Photography Foundation Prize (2019) and for the Prix Pictet (2021). His work is included in major museum collections including those of the Los Angeles County Art Museum (Los Angeles), The Metropolitan Museum (New York), National Gallery of Art (Washington), The National Gallery (Canada); Stichting Foundation (Brussels), Maison Européenne de la Photographie (Paris), Tate Modern and the Victoria and Albert Museum (London).
For three decades, Mark Ruwedel has photographed American deserts and wild spaces that bear traces of human intervention: abandoned remains of early railway lines, brightly sinister nuclear test sites, ruined desert homes outside Los Angeles. “I have come to think of the land as being an enormous historical archive,” he wrote in 1996. “I am interested in revealing the narratives contained within the landscape, especially those places where the land reveals itself as being both an agent of change and the field of human endeavour.”
For the Project, Ruwedel has identified four overlapping landscape ‘systems’: The Rivers, The Eastern Edge, The Hills and Canyons, and The Western Edge. His work captures the dynamic landscapes of the greater LA metropolitan area, shaped by floods, fires, earthquakes and landslides; a place overwritten by industry, irrigation, urban planning and abiding fantasies about authentic wilderness.
Mark Ruwedel has won numerous awards for this outstanding work, including the Scotiabank Photography Award and a Guggenheim Fellowship (both 2014). He was shortlisted for the Deutsche Börse Photography Foundation Prize (2019) and for the Prix Pictet (2021). His work is included in major museum collections including those of the Los Angeles County Art Museum (Los Angeles), The Metropolitan Museum (New York), National Gallery of Art (Washington), The National Gallery (Canada); Stichting Foundation (Brussels), Maison Européenne de la Photographie (Paris), Tate Modern and the Victoria and Albert Museum (London).