Rumours
19 Jun—18 Sep 2026To celebrate its 15th anniversary, Large Glass gallery is delighted to present Rumours, a group exhibition featuring works by 25 artists (of many) selected from over 50 exhibitions.
The title of this anniversary exhibition Rumours is borrowed from the Fleetwood Mac album of the same name. At the time of the album’s release, Patrick McKay of Stylus Magazine wrote: “What distinguishes Rumours—what makes it art—is the contradiction between its cheerful surface and its anguished heart”.
Over the last 15 years of Large Glass, alongside and sometimes part of the exhibitions, there have been some memorable pieces of writing about artworks, thoughts, themes and exhibition-making. Some of them are below.
“The blue grey colours far out had more dull substance than he remembered, but these colours were cut now by an island of molten white light from the sun which lay on a stretch of the water, holding it in thrall, so that what he saw was a clean fierce beauty.” Colm Toíbín, On Beauty (June 2014)
“Secretive, transgressive, tight, crisp, bitter, sustaining and sweet, apples run through our culture like a small, firm promise in our hands. Both simply domestic and densely resonant, the apple has inspired countless artists and writers. It remains a symbol, not only of sin and The Fall, but also of knowledge, life, love and hope.” AL Kennedy, With An Apple I will Astonish (October 2012)
“She turned around, and noticed a giant bramble that was pushing through a gap in the pavement and making its way up the yellow-brick wall. It was hollow, she thought, just like me. Simone looked down at her hands, and noticed that her skin had started to ripple too. She raised the index finger of her left hand and extended it towards a thorn. Rather than pricking her skin, it passed right through.” Rosanna Mclaughlin, Megaflora (April 2021)
“The chair [Square Hole Two] evolved from the idea of using a square hole as a connection. Logic dictates that you cannot drill a square hole and after many years of thinking that this indeed was the case, Martino was happy to stumble upon the mortiser.” Martino Gamper, A Drawing While Waiting for an Idea (May 2012)
“[Richard] Wentworth’s multifarious chairs are a reminder of and a furthering of Plato’s original ideal/ real chair. If all the chairs can be held by the idea of chairness, then one single chair will hold the existence of multiple idea, reality, ideality.” Ali Smith, Edge of the Seat (March 2014)
“The plank of wood is an artefact from 2003, imagining and practicing extending the perception of an ‘instant’ into the course of an entire day. Second-century Buddhist philosopher Nagarjuna proposed that there were 65 ‘instants’ in the click of a finger, and that one ‘instant’ was the length of time between a cloudless perception and a clouding intellect.” Hendl Helen Mirra, la malplena ĉambro estas bela (September 2020)
“The Coyote reappears. [Joseph] Beuys’ encounter with the North American Coyote in 1974 has never lost its’ appeal or relevance. Indeed, the human longing for a meaningful dialogue with Nature has increased with each generation. So too has the human pressure on the other species that share our planet. Too many people, using too much of the Earth’s resources, and eroding the wild places of which we should be the custodians, and what can we do about it? That seems to me to be the basis for today’s dialogue with Coyote!” Caroline Tisdall, Coyote: Caroline Tisdall / Joseph Beuys (October 2011)
“In Chaucer, and other writers of Middle English, Ariadne’s ball of thread is called a clewe. It’s a word that comes from the Old English cliewen, which means a sphere, a ball, or a skein of thread. In time this old Germanic word entirely lost its material significance and became our word “clue”. It means that every time we untangle a mystery, or unravel a complicated chain of associations, we are being helped by Ariadne’s thread. I shall follow it, wherever it leads, in this new labyrinth.” Charlotte HIggins, In the Labyrinth (February 2019)
“What is crucial is the taking place of the place, which is also the taking place of nothing: 'RIEN...N'AURA EU LIEU...QUE LE LIEU'. The X, of course, also means that the present is precisely not absolute, since it is from a point of view. Presentness is performative rather than descriptive - the outcome of a set of operations - which may be extended to the exhibition as a whole.” Michael Newman, After Mallarmé (June 2024)
“These hands work as metonyms for photography as they point to things outside the frame, seize translucent objects like glasses, or draw with light, repeatedly staging a performance of the act of photographing.” Marina Spunta, Di sguincio (February 2023)
“As a sign, the Moon has suffered from over-use: its address to mystery, changeability, femininity, wonder and the like, is as familiar as Stéphane Mallarmé’s worn coin, now sat up there in the night sky. It is difficult to bring it down to earth, but to do so might be the only way to launch it again. In a rebus-like gesture, Trevor Shearer’s Partial Eclipse (of The Riddle of the Universe) (1999) succeeds by way of a deadpan but enigmatic marriage of the cosmic and the comic.” Ed Krčma, Universal Fragments (October 2013)
"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. They apply mathematics and imagination. They detect tremors emanating from collisions between the most massive dying stars. They hear the music of the spheres." Dava Sobel, The Edge of Forever (June 2025)
The anniversary is thanks to ALL the artists, writers and makers who have exhibited their work and shared their words with us over the past 15 years.
The title of this anniversary exhibition Rumours is borrowed from the Fleetwood Mac album of the same name. At the time of the album’s release, Patrick McKay of Stylus Magazine wrote: “What distinguishes Rumours—what makes it art—is the contradiction between its cheerful surface and its anguished heart”.
Over the last 15 years of Large Glass, alongside and sometimes part of the exhibitions, there have been some memorable pieces of writing about artworks, thoughts, themes and exhibition-making. Some of them are below.
“The blue grey colours far out had more dull substance than he remembered, but these colours were cut now by an island of molten white light from the sun which lay on a stretch of the water, holding it in thrall, so that what he saw was a clean fierce beauty.” Colm Toíbín, On Beauty (June 2014)
“Secretive, transgressive, tight, crisp, bitter, sustaining and sweet, apples run through our culture like a small, firm promise in our hands. Both simply domestic and densely resonant, the apple has inspired countless artists and writers. It remains a symbol, not only of sin and The Fall, but also of knowledge, life, love and hope.” AL Kennedy, With An Apple I will Astonish (October 2012)
“She turned around, and noticed a giant bramble that was pushing through a gap in the pavement and making its way up the yellow-brick wall. It was hollow, she thought, just like me. Simone looked down at her hands, and noticed that her skin had started to ripple too. She raised the index finger of her left hand and extended it towards a thorn. Rather than pricking her skin, it passed right through.” Rosanna Mclaughlin, Megaflora (April 2021)
“The chair [Square Hole Two] evolved from the idea of using a square hole as a connection. Logic dictates that you cannot drill a square hole and after many years of thinking that this indeed was the case, Martino was happy to stumble upon the mortiser.” Martino Gamper, A Drawing While Waiting for an Idea (May 2012)
“[Richard] Wentworth’s multifarious chairs are a reminder of and a furthering of Plato’s original ideal/ real chair. If all the chairs can be held by the idea of chairness, then one single chair will hold the existence of multiple idea, reality, ideality.” Ali Smith, Edge of the Seat (March 2014)
“The plank of wood is an artefact from 2003, imagining and practicing extending the perception of an ‘instant’ into the course of an entire day. Second-century Buddhist philosopher Nagarjuna proposed that there were 65 ‘instants’ in the click of a finger, and that one ‘instant’ was the length of time between a cloudless perception and a clouding intellect.” Hendl Helen Mirra, la malplena ĉambro estas bela (September 2020)
“The Coyote reappears. [Joseph] Beuys’ encounter with the North American Coyote in 1974 has never lost its’ appeal or relevance. Indeed, the human longing for a meaningful dialogue with Nature has increased with each generation. So too has the human pressure on the other species that share our planet. Too many people, using too much of the Earth’s resources, and eroding the wild places of which we should be the custodians, and what can we do about it? That seems to me to be the basis for today’s dialogue with Coyote!” Caroline Tisdall, Coyote: Caroline Tisdall / Joseph Beuys (October 2011)
“In Chaucer, and other writers of Middle English, Ariadne’s ball of thread is called a clewe. It’s a word that comes from the Old English cliewen, which means a sphere, a ball, or a skein of thread. In time this old Germanic word entirely lost its material significance and became our word “clue”. It means that every time we untangle a mystery, or unravel a complicated chain of associations, we are being helped by Ariadne’s thread. I shall follow it, wherever it leads, in this new labyrinth.” Charlotte HIggins, In the Labyrinth (February 2019)
“What is crucial is the taking place of the place, which is also the taking place of nothing: 'RIEN...N'AURA EU LIEU...QUE LE LIEU'. The X, of course, also means that the present is precisely not absolute, since it is from a point of view. Presentness is performative rather than descriptive - the outcome of a set of operations - which may be extended to the exhibition as a whole.” Michael Newman, After Mallarmé (June 2024)
“These hands work as metonyms for photography as they point to things outside the frame, seize translucent objects like glasses, or draw with light, repeatedly staging a performance of the act of photographing.” Marina Spunta, Di sguincio (February 2023)
“As a sign, the Moon has suffered from over-use: its address to mystery, changeability, femininity, wonder and the like, is as familiar as Stéphane Mallarmé’s worn coin, now sat up there in the night sky. It is difficult to bring it down to earth, but to do so might be the only way to launch it again. In a rebus-like gesture, Trevor Shearer’s Partial Eclipse (of The Riddle of the Universe) (1999) succeeds by way of a deadpan but enigmatic marriage of the cosmic and the comic.” Ed Krčma, Universal Fragments (October 2013)
"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. They apply mathematics and imagination. They detect tremors emanating from collisions between the most massive dying stars. They hear the music of the spheres." Dava Sobel, The Edge of Forever (June 2025)
The anniversary is thanks to ALL the artists, writers and makers who have exhibited their work and shared their words with us over the past 15 years.
Tonico Lemos Auad
Joseph Beuys / Caroline Tisdall
Hélène Binet
Mario Cresci
Arnaud Desjardin
Cesare Fabbri
Marcello Galvani
Martino Gamper
John Gossage
Guido Guidi
Gerry Johansson
Morgan Levy
Jeff McMillan
Emma McNally
Hendl Helen Mirra
Jeremy Moon
Francesco Neri
James Rosenquist
Mark Ruwedel
Ursula Schulz-Dornburg
Trevor Shearer
Joëlle Tuerlinckx
Alison Turnbull
Richard Wentworth
Cerith Wyn Evans
Enquiries
sales: Charlotte Schepke
info: Leah Mclaine
Joseph Beuys / Caroline Tisdall
Hélène Binet
Mario Cresci
Arnaud Desjardin
Cesare Fabbri
Marcello Galvani
Martino Gamper
John Gossage
Guido Guidi
Gerry Johansson
Morgan Levy
Jeff McMillan
Emma McNally
Hendl Helen Mirra
Jeremy Moon
Francesco Neri
James Rosenquist
Mark Ruwedel
Ursula Schulz-Dornburg
Trevor Shearer
Joëlle Tuerlinckx
Alison Turnbull
Richard Wentworth
Cerith Wyn Evans
Enquiries
sales: Charlotte Schepke
info: Leah Mclaine
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Photo London 2026
14-17 May 2026Preview Day 13th May (invitation only)
Booth C08,
Source Section
National Hall, Olympia
London, W14 8UX
www.photolondon.org
We are delighted to present a display of works by London-based photographer Hélène Binet in the 'Source' section of Photo London, dedicated to solo projects by artists of significant cultural importance.
Binet has travelled the world, photographing historic and contemporary architecture, as well as works in progress. She is renowned for her exclusive use of film and her preference for black-and-white photography
The display of 30 photographs in Photo London spans Binet’s career, and reveals her visionary sense for architectural space and form. Her subjects range from a 16th century Villa by Andrea Palladio to the Lunuganga Garden in Sri Lanka. We also present a series of Polaroids from Binet’s archive, showing her initial impressions as she explores new spaces. “They are unique, a link to a moment of doubt”, says Binet. Some of these Polaroids will be shown for the first time and include her work with Zumthor and Hadid.
Binet's work has been widely exhibited, including at the Salone del Mobile in Milan, the PSA in Shanghai, and the Bauhaus Archive in Berlin. In 2019, she was awarded the Ada Louise Huxtable Prize in recognition of her exceptional contribution to architecture. In 2021 she became the first female photographer to present a major solo exhibition at the Royal Academy of Arts in London.
Binet has travelled the world, photographing historic and contemporary architecture, as well as works in progress. She is renowned for her exclusive use of film and her preference for black-and-white photography
“In Binet’s work there is a sense of the theatrical or the orchestrated: she moves the lines and angles to where she wants them, waits for the main players—shadow and light—to emerge and fall into place, ready for their close-ups.” Emily LaBarge
The display of 30 photographs in Photo London spans Binet’s career, and reveals her visionary sense for architectural space and form. Her subjects range from a 16th century Villa by Andrea Palladio to the Lunuganga Garden in Sri Lanka. We also present a series of Polaroids from Binet’s archive, showing her initial impressions as she explores new spaces. “They are unique, a link to a moment of doubt”, says Binet. Some of these Polaroids will be shown for the first time and include her work with Zumthor and Hadid.
Binet's work has been widely exhibited, including at the Salone del Mobile in Milan, the PSA in Shanghai, and the Bauhaus Archive in Berlin. In 2019, she was awarded the Ada Louise Huxtable Prize in recognition of her exceptional contribution to architecture. In 2021 she became the first female photographer to present a major solo exhibition at the Royal Academy of Arts in London.
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The Photography Show by AIPAD 2026
22–26 April 2026Preview Day 22 April (invitation only)
Booth A8
Park Avenue Amory
New York City
www.aipad.com/show
We are excited to announce our participation in AIPAD's Photography Show in New York next week. We will be presenting a selection of works by Mario Cresci, John Gossage, Guido Guidi, Gerry Johansson and Francesco Neri.
Our presentation at the fair is brought together under the title, The Insistent Gaze, which we have borrowed from the Italian curator Paolo Costantini. It describes "a gaze that fixes itself on the intricate tangle of signs… without seeking to resolve them into a unified whole.” This approach uses photographic methods as a conceptual tool to explore and revisit recurring signs, considering “the photographic gaze as a privileged form of questioning.”
Mario Cresci (born 1942 in Italy) is a leading figure in Italian photography. Belonging to an avant-garde generation, his experimental photographic work draws inspiration from Pop Art, Conceptual Art, and industrial design. His work focuses on the nature of photographic language, emphasising the importance of method as a tool for exploring the world.
John Gossage (born 1946 in the United States) is widely regarded as one of the finest American photo book makers of the last 40 years. His first monograph, The Pond (1985), has recently been republished to great acclaim and is considered a classic by photographers and educators alike. Gossage's first UK exhibition, From the Garden to the Darkness, is currently on display at the Large Glass gallery in London.
Guido Guidi (born 1941 in Italy) is a pioneer of new Italian landscape photography. Guidi trained as an architect, painter, and draughtsman—and an abiding interest in perspective and modest architectural forms underpins his photographs. For him, photography is autobiographical, and he uses it to capture subtle changes in familiar environments. His retrospective exhibition, Col tempo, 1954–2024, is currently on display at LE BAL in Paris.
Gerry Johansson (born 1945 in Sweden) is one of the country's most renowned photographers. Working primarily in black and white and favouring the square format, he is attracted to the neglected details of urban spaces. He is renowned for his portrayal of quiet small towns around the world, including those in the USA, Sweden, Italy, Japan, Germany and Spain.
Francesco Neri (born 1982 in Italy) focuses his work on the cultivated landscapes around his hometown of Faenza. He challenges an Italian photographic tradition that, in his view, prioritises landscapes over people. By returning to take portraits of farmers and the landscapes they have cultivated over the decades, Neri gains a deeper understanding of his roots and of the changes that he and the agricultural communities have undergone.
Our presentation at the fair is brought together under the title, The Insistent Gaze, which we have borrowed from the Italian curator Paolo Costantini. It describes "a gaze that fixes itself on the intricate tangle of signs… without seeking to resolve them into a unified whole.” This approach uses photographic methods as a conceptual tool to explore and revisit recurring signs, considering “the photographic gaze as a privileged form of questioning.”
Mario Cresci (born 1942 in Italy) is a leading figure in Italian photography. Belonging to an avant-garde generation, his experimental photographic work draws inspiration from Pop Art, Conceptual Art, and industrial design. His work focuses on the nature of photographic language, emphasising the importance of method as a tool for exploring the world.
John Gossage (born 1946 in the United States) is widely regarded as one of the finest American photo book makers of the last 40 years. His first monograph, The Pond (1985), has recently been republished to great acclaim and is considered a classic by photographers and educators alike. Gossage's first UK exhibition, From the Garden to the Darkness, is currently on display at the Large Glass gallery in London.
Guido Guidi (born 1941 in Italy) is a pioneer of new Italian landscape photography. Guidi trained as an architect, painter, and draughtsman—and an abiding interest in perspective and modest architectural forms underpins his photographs. For him, photography is autobiographical, and he uses it to capture subtle changes in familiar environments. His retrospective exhibition, Col tempo, 1954–2024, is currently on display at LE BAL in Paris.
Gerry Johansson (born 1945 in Sweden) is one of the country's most renowned photographers. Working primarily in black and white and favouring the square format, he is attracted to the neglected details of urban spaces. He is renowned for his portrayal of quiet small towns around the world, including those in the USA, Sweden, Italy, Japan, Germany and Spain.
Francesco Neri (born 1982 in Italy) focuses his work on the cultivated landscapes around his hometown of Faenza. He challenges an Italian photographic tradition that, in his view, prioritises landscapes over people. By returning to take portraits of farmers and the landscapes they have cultivated over the decades, Neri gains a deeper understanding of his roots and of the changes that he and the agricultural communities have undergone.
Mario Cresci
John Gossage
Guido Guidi
Gerry Johansson
Francesco Neri
Enquiries
sales: Charlotte Schepke
info: Leah Mclaine
John Gossage
Guido Guidi
Gerry Johansson
Francesco Neri
Enquiries
sales: Charlotte Schepke
info: Leah Mclaine
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John Gossage: From the Garden to the Darkness
14 Mar —29 May 2026“Photography has always seemed to me a place where formality meets reality, or if you would like to say, opinion finds a place in fact.”
We are delighted to present the first exhibition of American artist John Gossage in the UK.
John Gossage (born 1946) is widely regarded as one of the finest American photobook makers of the last 40 years. His first monograph, The Pond (1985), has recently been republished to great acclaim, and is considered a classic by photographers and educators alike. Lisette Model was his teacher. Discovered at a young age by Leo Castelli, one of his first exhibitions was held alongside Jasper Johns. After leaving Castelli, Gossage devoted himself to creating photobooks. In 2015, the Art Institute of Chicago held a major retrospective of his work.
In From the Garden to the Darkness, we focus on two key works which serve as bookends. Gardens is a portfolio of twenty-four photographs with text excerpts selected by Walter Hopps. It was published by The Hollow Press and Castelli Graphics in 1978. The photographs were made between 1973 and 1977 in Washington, DC, where Gossage lives.
The second is from a series of pictures that photograph the darkness in Berlin 1982 - 86. They are the subject of Gossage’s book Stadt des Schwarz (City of Black) and the heart of his later book Berlin in the Time of the Wall.
Positioned between the bookends are what Gossage calls “photographs with distractions”, pieces made from single, small photographs mounted on board with collage-like elements and handmade marks. “I think of them as assemblages. They are not collages because none of the elements intrude upon the photographic reality”, he says in a conversation with Darius Himes.
The images are from There and Gone (1997), a book in three chapters… the first chapter being the bathing beach in the Mexican border city of Tijuana. The pictures were taken from a distance, using a long telephoto lens and surveillance film. John Gossage: “There’s a lot of illegal border crossing and at the same time it’s the beach of the people of Tijuana. What seemed interesting to me was the photographing of strangers. I could go on the beach and do the standard photojournalist pantomime where you spend a couple of days blending in, getting to know the people, but it’s a lie, an illusion. Given this I decided to stay at a distance and photograph people who didn’t know that they were being photographed. All of the pictures taken of Mexico are done from America, about a quarter mile down the beach. I could just stand there and shoot all day, anything that went on, taking another culture on its own terms.”
Gossage’s photographs have been exhibited and are represented in major public collections, including the Museum of Modern Art, New York; the Philadelphia Museum of Art; the Canadian Centre for Architecture, Montreal; the Bibliothèque National, Paris; the Sprengel Museum Hannover, and the National Gallery of Art, Washington, DC, among others. Other notable publications include There and Gone; The Things That Animals Care About; The Romance Industry; Berlin in the Time of the Wall; The Thirty-Two Inch Ruler; Looking up Ben James – A Fable, and Should Nature Change.
In 1987, Gossage started his own publishing imprint, Loosestrife Editions, which has published a number of photographic monographs to great acclaim, including A New Map of Italy, Guido Guidi’s first book published outside of Italy.
The exhibition includes an homage to Gossage by Guidi.
We are delighted to present the first exhibition of American artist John Gossage in the UK.
John Gossage (born 1946) is widely regarded as one of the finest American photobook makers of the last 40 years. His first monograph, The Pond (1985), has recently been republished to great acclaim, and is considered a classic by photographers and educators alike. Lisette Model was his teacher. Discovered at a young age by Leo Castelli, one of his first exhibitions was held alongside Jasper Johns. After leaving Castelli, Gossage devoted himself to creating photobooks. In 2015, the Art Institute of Chicago held a major retrospective of his work.
In From the Garden to the Darkness, we focus on two key works which serve as bookends. Gardens is a portfolio of twenty-four photographs with text excerpts selected by Walter Hopps. It was published by The Hollow Press and Castelli Graphics in 1978. The photographs were made between 1973 and 1977 in Washington, DC, where Gossage lives.
The second is from a series of pictures that photograph the darkness in Berlin 1982 - 86. They are the subject of Gossage’s book Stadt des Schwarz (City of Black) and the heart of his later book Berlin in the Time of the Wall.
Positioned between the bookends are what Gossage calls “photographs with distractions”, pieces made from single, small photographs mounted on board with collage-like elements and handmade marks. “I think of them as assemblages. They are not collages because none of the elements intrude upon the photographic reality”, he says in a conversation with Darius Himes.
The images are from There and Gone (1997), a book in three chapters… the first chapter being the bathing beach in the Mexican border city of Tijuana. The pictures were taken from a distance, using a long telephoto lens and surveillance film. John Gossage: “There’s a lot of illegal border crossing and at the same time it’s the beach of the people of Tijuana. What seemed interesting to me was the photographing of strangers. I could go on the beach and do the standard photojournalist pantomime where you spend a couple of days blending in, getting to know the people, but it’s a lie, an illusion. Given this I decided to stay at a distance and photograph people who didn’t know that they were being photographed. All of the pictures taken of Mexico are done from America, about a quarter mile down the beach. I could just stand there and shoot all day, anything that went on, taking another culture on its own terms.”
Gossage’s photographs have been exhibited and are represented in major public collections, including the Museum of Modern Art, New York; the Philadelphia Museum of Art; the Canadian Centre for Architecture, Montreal; the Bibliothèque National, Paris; the Sprengel Museum Hannover, and the National Gallery of Art, Washington, DC, among others. Other notable publications include There and Gone; The Things That Animals Care About; The Romance Industry; Berlin in the Time of the Wall; The Thirty-Two Inch Ruler; Looking up Ben James – A Fable, and Should Nature Change.
In 1987, Gossage started his own publishing imprint, Loosestrife Editions, which has published a number of photographic monographs to great acclaim, including A New Map of Italy, Guido Guidi’s first book published outside of Italy.
The exhibition includes an homage to Gossage by Guidi.
John Gossage
Guido Guidi
Enquiries
sales: Charlotte Schepke
info: Gallery
Press
Financial Times Weekend Magazine: ‘Gallery: John Gossage’, by Emily Duchenne, April 4 2026
Guido Guidi
Enquiries
sales: Charlotte Schepke
info: Gallery
Press
Financial Times Weekend Magazine: ‘Gallery: John Gossage’, by Emily Duchenne, April 4 2026
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Guido Guidi: A casa
Guest appearance John Gossage
28 Nov 2025—28 Feb 2026A casa is a collection of work that focuses on the famed Italian photographer's home in Ronta, near Cesena. Purchased by Guidi’s father in the 1950s, this house is both a living space and a studio, as well as a meeting place for emerging artists – a space where personal memories and artistic process intertwine, and where his extensive archive is housed.
Fellow artist and bookmaker John Gossage has been a long time friend of Guidi’s. The two have been on many photographic journeys together and for A casa, he has made a small sequence of six books, acknowledging the gift of friendship, featuring photographs taken on visits to Guidi’s house, a homage to an esteemed artist.
Journalist Bartolomeo Sala travelled to Guido Guidi’s home to ask him about this place, the long time setting for his life as well as his approach to photography. An excerpt of their conversation here:
BS In one of your interviews, I read a sentence of yours that felt particularly revealing, “geography is biography.”
For anyone who grew up around here, your house and the landscape that surrounds it are synonymous with the Padan Plain – the sort of third landscape between urban and rural that you and Ghirri first put on the map in Viaggio in Italia. How much did this landscape have an influence on your sensibility and way of photographing?
GG A lot, it influenced me a lot. If you look at certain things, you train your eye on them, then obviously they become [your subject]. Merleau-Ponty used to say, “if you look at a stone, you become the stone.” If you look at certain rocks, they somehow become part of your mental make-up, so you are drawn to observe them again. If you live somewhere else – say, Milan – maybe, there are stones there, too. But there are mostly shop windows, so you spend your days shooting shop windows. You are yourself a shop window, you have digested it and made it your own, so to speak.
Guido Guidi (b. 1941, Cesena) is one of Italy’s most respected photographers, with a career spanning more than five decades. He has mostly focused his lens on rural and suburban geographies close to his home. Guidi has produced over 30 monographs to date, including the recently published ‘Col tempo, 1956–2024’ (MACK), accompanying a comprehensive retrospective currently touring Europe, from the MAXXI, Rome to LE BAL, Paris. Guidi’s photographs are part of International public collections, including the Victoria and AlbertMuseum, London; Musée d’Art Moderne de la Ville de Paris and Centre Pompidou, Paris; Fondazione SandrettoRe Rebaudengo, Turin and ICCD in Rome; Canadian Centre for Architecture, Montréal and San FranciscoMuseum of Modern Art.
John Gossage (b. 1946, Staten Island, New York, USA) lives and works in Washington, D.C. Gossage is known for his nuanced studies of urban and peripheral landscapes. Since the 1960s, his work has examined the interplay between architecture, memory, and social space, often through sequences of black-and-white photographs. Gossage’s publications, including The Pond (1985) and Berlin in the Time of the Wall (2004), are regarded as seminal contributions to the photobook form. His work is held in major collections such as the Museum of Modern Art, New York, and the Art Institute of Chicago.
Bartolomeo Sala is an Italian journalist and editor based in London. His writing has appeared in the Financia Times Weekend Magazine, the Sunday Times, and The New Statesman and he is a regular contributor to Jacobin, and the Brooklyn Rail.
Fellow artist and bookmaker John Gossage has been a long time friend of Guidi’s. The two have been on many photographic journeys together and for A casa, he has made a small sequence of six books, acknowledging the gift of friendship, featuring photographs taken on visits to Guidi’s house, a homage to an esteemed artist.
Journalist Bartolomeo Sala travelled to Guido Guidi’s home to ask him about this place, the long time setting for his life as well as his approach to photography. An excerpt of their conversation here:
BS In one of your interviews, I read a sentence of yours that felt particularly revealing, “geography is biography.”
For anyone who grew up around here, your house and the landscape that surrounds it are synonymous with the Padan Plain – the sort of third landscape between urban and rural that you and Ghirri first put on the map in Viaggio in Italia. How much did this landscape have an influence on your sensibility and way of photographing?
GG A lot, it influenced me a lot. If you look at certain things, you train your eye on them, then obviously they become [your subject]. Merleau-Ponty used to say, “if you look at a stone, you become the stone.” If you look at certain rocks, they somehow become part of your mental make-up, so you are drawn to observe them again. If you live somewhere else – say, Milan – maybe, there are stones there, too. But there are mostly shop windows, so you spend your days shooting shop windows. You are yourself a shop window, you have digested it and made it your own, so to speak.
Guido Guidi (b. 1941, Cesena) is one of Italy’s most respected photographers, with a career spanning more than five decades. He has mostly focused his lens on rural and suburban geographies close to his home. Guidi has produced over 30 monographs to date, including the recently published ‘Col tempo, 1956–2024’ (MACK), accompanying a comprehensive retrospective currently touring Europe, from the MAXXI, Rome to LE BAL, Paris. Guidi’s photographs are part of International public collections, including the Victoria and AlbertMuseum, London; Musée d’Art Moderne de la Ville de Paris and Centre Pompidou, Paris; Fondazione SandrettoRe Rebaudengo, Turin and ICCD in Rome; Canadian Centre for Architecture, Montréal and San FranciscoMuseum of Modern Art.
John Gossage (b. 1946, Staten Island, New York, USA) lives and works in Washington, D.C. Gossage is known for his nuanced studies of urban and peripheral landscapes. Since the 1960s, his work has examined the interplay between architecture, memory, and social space, often through sequences of black-and-white photographs. Gossage’s publications, including The Pond (1985) and Berlin in the Time of the Wall (2004), are regarded as seminal contributions to the photobook form. His work is held in major collections such as the Museum of Modern Art, New York, and the Art Institute of Chicago.
Bartolomeo Sala is an Italian journalist and editor based in London. His writing has appeared in the Financia Times Weekend Magazine, the Sunday Times, and The New Statesman and he is a regular contributor to Jacobin, and the Brooklyn Rail.
Guido Guidi
John Gossage
Enquiries
sales: Charlotte Schepke
info: Gabrielle Slack-Smith
Press
Tide Magazine: ‘”A Casa", Guido Guidi at His Home Studio in Ronta’, 19 February 2026
Exhibition Text
‘Guido Guidi: A casa’ featuring an interview with Guido Guidi by Bartolomeo Sala, November 2025
John Gossage
Enquiries
sales: Charlotte Schepke
info: Gabrielle Slack-Smith
Press
Tide Magazine: ‘”A Casa", Guido Guidi at His Home Studio in Ronta’, 19 February 2026
Exhibition Text
‘Guido Guidi: A casa’ featuring an interview with Guido Guidi by Bartolomeo Sala, November 2025