Felicity Hammond

The United Kingdom, London South Kiosk

Felicity Hammond (b. 1988, UK) received a Masters degree from the Royal College of Art in 2014. She has been a finalist and nominee for numerous awards including: British Journal of Photography’s International Photography Award (winner – 2016), Magnum and Photo London Inaugural Photographer Award (shortlisted 2015), Catlin Art Prize (2015), Saatchi New Sensations (2014), and Metro Imaging Printing Award (2014). Her work had been exhibited widely and most recently at Saatchi Gallery, London 2015; The Lowry, Manchester 2015; T J Boulting Gallery London 2016. She recently undertook a commission for Photoworks and House Festival in Brighton. Coming up, Felicity will also be presenting new work with the Photographer’s Gallery at Photo London and will be expanding her practice to a performance work at Tate Modern (London 2016).

Concerned with the decaying British post-industrial landscape, Felicity Hammond makes photographic collage and photo-sculptural installations that are allegorical depictions of simultaneously archaic and futuristic scenes. She is concerned with spaces where industrial processes have been discarded, and in their place stands computer-generated imagery of luxury living; posters pertaining to a better life and a better future. They are utopic yet grotesque, where they speak of an unobtainable capital; a capital which proliferates without labour. Her work challenges the way in which these sites that were once producers of power have now become a product of it, standing for both progression and error, and its relationship with urban temporality. 

Hammond’s three-dimensional works lie within the limits of photography. Mainly, they are using the material language of urban regeneration; the fake opulence that encases luxury developments as a way of dissecting the linguistic value of urban manifestos. Particular attention is paid to the warped value of the rendered image, where the ruin in reality is fused with the digital ruin. These photographic installations borrow the indeterminate nature of the virtual, fusing digitally warped visions of opulent living with the discarded material that it conceals.