Art

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one’s vision or going blind.

Luke Foley-Martin’s exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in the darkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in ‘Staring into the Sun’ Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one’s vision or going blind.

Luke Foley-Martin’s exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in the darkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in ‘Staring into the Sun’ Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one’s vision or going blind.

Luke Foley-Martin’s exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in the darkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in ‘Staring into the Sun’ Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

'Radiation' is drawn from a recent and ongoing series of photographs of the sun, alongside abstract images made in the darkroom intended to evoke celestial bodies, exploring spaces between the real and imagined.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one’s vision or going blind.

'Radiation' began as a handmade RA-4 colour print produced using experimental darkroom techniques, and has been recast as site-specific lightbox installation for the Luma Festival. The glowing orange orb appears to expand beyond the frame and may suggest a celestial body radiating energy and light.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one’s vision or going blind.

Luke Foley-Martin’s exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in the darkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in ‘Staring into the Sun’ Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one's vision or going blind.

Luke Foley-Martin's exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in the darkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in 'Staring into the Sun' Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one's vision or going blind.

Luke Foley-Martin's exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in thedarkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in 'Staring into the Sun' Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one's vision or going blind.

Luke Foley-Martin's exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in the darkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in 'Staring into the Sun' Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one's vision or going blind.

Luke Foley-Martin's exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in thedarkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in 'Staring into the Sun' Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

Given it is their primary source of light, photographers almost always consider the sun. Yet they seldom directly photograph it as a subject.

Sungazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one's vision or going blind.

Luke Foley-Martin's exhibition combines real photographs of the sun with hand-made abstract simulations of celestial bodies created in the darkroom. Influenced by heliography and selected works by Hiroshi Sugimoto, Nicolai Howalt and Hiroshi Yamazaki, in 'Staring into the Sun' Foley-Martin risks his own eyesight to explore spaces between the real and imagined, vision and blindness.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition Radiant Solitude, explores connections between our concepts of outer space and the ‘inner space’ of self-reflection.

The ongoing series features photographs of the sun positioned alongside abstract images made in the darkroom, exploring spaces between the real and imagined. Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one’s vision or going blind.

Foley-Martin’s work often begins as handmade RA-4 colour prints produced using experimental darkroom techniques. In this exhibition, his work leans into the unpredictable and intuitive nature of working ‘blind’ in the darkroom, to create more complex compositions which further incorporate the role of chance. Here, an analogy between the darkroom and the depths of outer space is foregrounded. In Radiant Solitude, the isolation of the darkroom offers a space to contemplate the self and the orbit of others.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin's latest exhibition Radiant Solitude, explores connections between our concepts of outer space and the 'inner space' of self-reflection.

The ongoing series features photographs of the sun positioned alongside abstract images made in the darkroom, exploring spaces between the real and imagined. Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one's vision or going blind.

Foley-Martin's work often begins as handmade RA-4 colour prints produced using experimental darkroom techniques. In this exhibition, his work leans into the unpredictable and intuitive nature of working 'blind' in the darkroom, to create more complex compositions which further incorporate the role of chance. Here, an analogy between the darkroom and the depths of outer space is foregrounded. In Radiant Solitude, the isolation of the darkroom offers a space to contemplate the self and the orbit of others.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin's latest exhibition Radiant Solitude, explores connections between our concepts of outer space and the 'inner space' of self-reflection.

The ongoing series features photographs of the sun positioned alongside abstract images made in the darkroom, exploring spaces between the real and imagined. Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one's vision or going blind.

Foley-Martin's work often begins as handmade RA-4 colour prints produced using experimental darkroom techniques. In this exhibition, his work leans into the unpredictable and intuitive nature of working 'blind' in the darkroom, to create more complex compositions which further incorporate the role of chance. Here, an analogy between the darkroom and the depths of outer space is foregrounded. In Radiant Solitude, the isolation of the darkroom offers a space to contemplate the self and the orbit of others.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin's latest exhibition Radiant Solitude, explores connections between our concepts of outer space and the 'inner space' of self-reflection.

The ongoing series features photographs of the sun positioned alongside abstract images made in the darkroom, exploring spaces between the real and imagined. Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. However, it is considered extremely dangerous, and impossible to look at the sun for any length of time without damaging one's vision or going blind.

Foley-Martin's work often begins as handmade RA-4 colour prints produced using experimental darkroom techniques. In this exhibition, his work leans into the unpredictable and intuitive nature of working 'blind' in the darkroom, to create more complex compositions which further incorporate the role of chance. Here, an analogy between the darkroom and the depths of outer space is foregrounded. In Radiant Solitude, the isolation of the darkroom offers a space to contemplate the self and the orbit of others.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.=

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.

Extending his recent photographic work evoking celestial bodies, Luke Foley-Martin’s latest exhibition, ‘Staring into the Sun’, continues his exploration of the interplay between outer space and inner reflection. The series consists entirely of hand-made RA-4 colour prints created through experimental darkroom techniques, pushing the boundaries of traditional photographic processes.

Given it is their primary source of light, photographers almost always consider the sun, yet they seldom directly photograph it as a subject. Sun gazing is sometimes enacted as part of spiritual or religious practices, or as an alternative therapy, most often near dawn or dusk. It's impossible to look at the Sun for any significant length of time without risking permanent damage to one’s vision, making it an elusive subject both visually and conceptually. Foley-Martin's process leans into this tension. By working 'blind' in the darkroom, he embraces the unpredictable nature of chemical reactions and light, creating compositions that rely on intuition and chance. In ‘Staring into the Sun’, the darkroom becomes a metaphor for an inner, introspective space.