Fourth Edition – 5th September – 17th October

Fourth Edition: A Photobook Show

Cork Photo Gallery, Fitzgerald’s Park, Mardyke Walk.
Launch event: 6 pm, 13th September
Dates: 5th September -17th October
Hours: Tues – Sat: 11 am – 4 pm

Fourth Edition, photobook show brings together photographers, Stephen Gill, Ed Panar, Andrea Alessio, Luke Stevenson, Mandy Barker and taxidermist Alexis Turner. Each shares a similar interest, engaging with the animal kingdom to create works that remind us of our intrinsic want to discover, understand, preserve and categorise the natural world.

Fourth Edition accompanies IN DOG WE TRUST, by Sandra Birke.

Ed Panar – Animals That Saw Me: Volume Two

Animals That Saw Me: Volume Two pairs a new collection of photographs from the observational wanderings of Ed Panar with an original essay on “being seen” by speculative realist philosopher Timothy Morton. Extending the project Panar began in 2011 with Animals That Saw Me: Volume One, this ‘sequel’ draws from recent work and newly discovered gems from his vast back catalogue to depict a series of brief, shared encounters with various (non-human) species — mammal, reptile, bird, insect — as they seem to behold the (human) photographer.

Edited for the viewer’s maximum delight, the pictures embody a whimsical concept with surprisingly complex ramifications under the surface. Why do we distinguish between “us” and “them,” and what exists in the space between these distinctions? What does it mean to make “eye contact” with another species? What does the presence of a camera add to this phenomenon?

Channeling the thoughtful humor, wonder and peculiar engagement with the world that made Panar’s first volume an instant hit, this volume revisits and digs deeper into the question: “Why do we assume that it’s only us who does the looking?”

Ed Panar – Animals That Saw Me: Volume Two Fourth Edition
Ed Panar – Animals That Saw Me: Volume Two

Stephen Gill – Night Procession

In March 2014, my family and I moved from east London to rural south Sweden where my partner Lena is from. I understood that these new surroundings would inform my work in very different ways and that nature would play a key role. I was looking forward to making work that did not feel restricted and suffocated by modern photographic technology nor would make an inaccurate projected impression of the natural landscape we had become part of.

On my many walks, I soon came to realise that this new, apparently bleak, flat and open landscape was, in fact, teeming with intense life. Small clues appeared during daylight hours that helped me understand the extent of activity during the night. Clusters of feathers, animal footprints of all sizes showing regular overlapping routes, gnawed branches, eggshells, ant hills, nibbled mushrooms and busy snails and slugs working through the feast provided from the previous night.

I started to imagine the creatures in absolute darkness on the forest floor driven by instincts and their will to survive. I imagined them encountering each other. I thought of their eyes – near redundant in the thick of the night – and their sense of smell and hearing finely tuned and heightened.

Envisaging where this activity might unfold, coupled with a hopeful foresight; I placed cameras equipped with motion sensors, to trees, mostly at a low level, so that any movement triggered the camera shutter and an infrared flash (which was outside the animals’ visual spectrum).

The first results filled me with fascination and joy as they presented what felt like stepping off into another parallel and unearthly world. The silent photographs also seemed to invent sounds. This frame of mind and way of working took me back to my first ever photo project at the age of 13, sitting in the bathroom window of my parents’ house in Bristol with a 10-meter cable release, attached to the camera, attempting to photograph garden birds.

As time went on I started to think, if I were a deer where would I drink from, or if an owl where would I prefer to perch, and positioned cameras in such places. I was already composing the rectangular view in my mind’s eye – even though the nocturnal animals were absent – imagining they were there. Nature itself helped to decide the palette and the feel of the images as plant pigments were incorporated from the surrounding areas to make the final master prints.

Fourth Edition Stephen Gill - Night Procession
Stephen Gill - Night Procession
Fourth Edition Stephen Gill - Night Procession
Stephen Gill - Night Procession


From style wilderness to the height of cool, taxidermy has staged an extraordinary comeback. No longer confined to stately homes, stuffed animals are appearing everywhere from modern apartments to luxury department stores. High-profile artists have rejuvenated the medium and museums have dusted down their historic collections and put them back on display.

Illustrated with stunning photography that explores this rich art form, past and present, this title is the most comprehensive and beautiful survey of taxidermy ever produced.


LUKE STEPHENSON – An Incomplete Dictionary of Show Birds

“An Incomplete Dictionary of Show Birds began with a very simple idea, that I wanted to photograph budgies. I met a great deal of people (mostly men) who were very knowledgeable about their hobby and only too happy to share it with me. Their enthusiasm became infectious so that by simply photographing a species I felt I was adding it to my collection.”  Luke Stephenson

Fourth Edition - LUKE STEPHENSON - An Incomplete Dictionary of Show Birds
LUKE STEPHENSON - An Incomplete Dictionary of Show Birds

Mandy Barker – Beyond Drifting: Imperfectly Known Animals

MANDY BARKER (b. 1964, UK) is a photographer whose work investigates marine plastic debris. Working with scientists she aims to raise awareness about plastic pollution in the world’s oceans to highlight the current research on the effects on marine life and ultimately ourselves.

Barker is an award-winning photographer shortlisted for the Prix Pictet Award SPACE 2017 and nominated for The Deutsche Börse Foundation Photography Prize 2018 and the Magnum Foundation Fund. She is a recipient of the 2018 National Geographic Society Grant for Research and Exploration. Her work has been published in over 40 countries including National Geographic, Time, The Guardian, Vice, Smithsonian, Geo, and New Scientist.

In 2012 she was awarded The Royal Photographic Society’s Environmental Bursary that allowed her to take part in a scientific research voyage that sailed in a yacht from Japan to Hawaii across the North Pacific Ocean. Barker speaks internationally about her work to engage people with the issue, invited as a guest speaker to the National Geographic Photography Seminar 2018 Washington, Stanford University California, and Marfa Dialogues at The Museum of Fine Arts, Houston.

Fourth Edition - Mandy Barker - Beyond Drifting: Imperfectly Known Animals
Mandy Barker - Beyond Drifting: Imperfectly Known Animals


“In this work, Andrea Alessio collects, as in an ancient bestiary, a series of animal images. The forest does not frighten modern man anymore. It’s sinister night calls no longer stalk the minds of children. Little remains of the supernatural and the wild no longer beckons. It is in this disenchanted world, through which we have roamed far too long, that Andrea Alessio embarks on his journey. A hunt for what remains of the beast; a quest apparently fed by our need for visual evidence. Those eyes are sometimes glassy, elusive or even dead. Our animal instinct has died too, closed in on itself, lost among its artifices, like a wild bear trapped between fake rocks.

So it may happen that we find ourselves unable to distinguish a live animal, albeit with its wounded instinct, from a stuffed one, which is stiff and awkward. It is with these dioramas and small stages that Andrea Alessio has dealt for over 20 years without bias and with the specific and rigorous intention of engaging our perceptions and their boundaries. So it does not matter if we are in a New York museum or at a Paris zoo. Geography is nothing more than a mere scenic reproduction inside which the animal is forced to live out its days. And so do we when our way of perceiving becomes itself a prison, like a lion’s cage.

This then is the almost subconscious message which reaches us as we leaf through the pages of this bestiary. In any case, a transversal reading of Alessio’s images can still surprise us with new dimensions of meaning, as combinations of sense which transcend the space and time of the gaze. Animals may still appear to communicate with each other and able to observe and watch us. For a fleeting moment, we can fool ourselves that our imagination is not completely lost.”  Steve Bisson