British artist Edmund Clark is Ikon’s artist-in-residence (2014–2018) at Europe’s only entirely therapeutic prison, HMP Grendon, in Buckinghamshire. This exhibition is the culmination of his residency, comprising photography, video and installation. Established in 1962, HMP Grendon requires inmates to accept responsibility for their offence. Within the prison environment they can exercise a degree of control over the day-to-day running of their lives, making a commitment to intensive group therapy and democratic decision-making, whilst holding each other to account. Evidence shows that Grendon has delivered lower levels of violence in prison and reduced instances of reoffence after release. Clark, an artist with a longstanding interes...
This article introduces a three-year project begun in 2018 that investigates the relationship betwee...
This practice-led research project investigates the prison space from an insider’s perspective throu...
In this thesis I make the case that arts practice in prison has largely been appropriated by the dis...
Presentation of research and visual art practice during four years as artist-in-residence at HMP Gre...
This catalogue accompanies artist Edmund Clark’s exhibition In Place of Hate at Ikon Gallery. Clark ...
My Shadow’s Reflection is part of a body of work made by Edmund Clark as artist in residence in Euro...
In this talk I will explore ideas of visibility, representation, trauma and self-image in developing...
In precise and atmospheric images, award-winning London-based photographer, Edmund Clark, exposes an...
Clark was granted two years of privileged access to E Wing of Kingston Prison in Portsmouth. For eig...
This is a study of a home, of a particular idea of home at a particular time in our history. This is...
An examination of space, control and criminalisation. In December 2011, Edmund Clark was the fir...
The photographs reproduced here represent an alternative way of communicating the experiences of tho...
Flowers is pleased to present a selection of photographs from Edmund Clark's Guantanamo: If The Ligh...
Let us begin with a single image: Harou-Romain’s Plan for a penitentiary, 1840. If the reader is unf...
In Letters to Omar, Edmund Clark examines the strict monitoring and control mechanisms in the Guanta...
This article introduces a three-year project begun in 2018 that investigates the relationship betwee...
This practice-led research project investigates the prison space from an insider’s perspective throu...
In this thesis I make the case that arts practice in prison has largely been appropriated by the dis...
Presentation of research and visual art practice during four years as artist-in-residence at HMP Gre...
This catalogue accompanies artist Edmund Clark’s exhibition In Place of Hate at Ikon Gallery. Clark ...
My Shadow’s Reflection is part of a body of work made by Edmund Clark as artist in residence in Euro...
In this talk I will explore ideas of visibility, representation, trauma and self-image in developing...
In precise and atmospheric images, award-winning London-based photographer, Edmund Clark, exposes an...
Clark was granted two years of privileged access to E Wing of Kingston Prison in Portsmouth. For eig...
This is a study of a home, of a particular idea of home at a particular time in our history. This is...
An examination of space, control and criminalisation. In December 2011, Edmund Clark was the fir...
The photographs reproduced here represent an alternative way of communicating the experiences of tho...
Flowers is pleased to present a selection of photographs from Edmund Clark's Guantanamo: If The Ligh...
Let us begin with a single image: Harou-Romain’s Plan for a penitentiary, 1840. If the reader is unf...
In Letters to Omar, Edmund Clark examines the strict monitoring and control mechanisms in the Guanta...
This article introduces a three-year project begun in 2018 that investigates the relationship betwee...
This practice-led research project investigates the prison space from an insider’s perspective throu...
In this thesis I make the case that arts practice in prison has largely been appropriated by the dis...