Andrea Hamilton (Lima, 1968) My English great grandfather was a stowaway at 13 on the Yangtze River and this began the Jarvis spirit for adventure. My English father was offered a job at age 19 in Peru and convinced my mother (both from Kent) to begin this adventure where I was born. My early childhood was spent in South America ―Lima and Mexico City― my teens in Minneapolis, home of the Walker Art Center, and after that my parents settled us back in London. My father always wanted to be a historian and documented and annotated his entire life with detailed and unusual photograph albums. My mother had a Fine Arts Degree and pursued painting, sculpting and interiors. I began to study photography at Blake High School where I practically lived in the darkroom printing both in black and white and colour. I then studied Italian cinema and photography at Northwestern University (1986) where I won a scholarship from the Italian consulate to study Italian Art History in Florence and Siena (1987). For my application to Brown University, I sent a handprinted photobook on parchment sewn in leather and was accepted (1988-1991). I then completed a Law Degree at Oxford University (LLB) (1991-1993) and New York University of Law (LLM)(1994). My first career was as a Latin American mining analyst at UBS where I returned to my childhood landscapes in Peru and Mexico, and discovered Bolivia, Brazil, Chile and Argentina. When I met my husband, I spent time in Sweden learning the Scandinavian artists and landscapes. In 2002, I returned to printing in the darkroom at The School of Black and White and then took a conversion course at Photofusion and the LCC (2003-2004) where I studied studio and digital techniques. I continued to study photography retouching under Gry Garness and set up my studio in Belgravia (2004-2007). Since the premature death of my mother, I realised that time is short and have decided to spend the rest of my life as an artist. I have been working on a body of work which I have only now decided to share with the public, although a few pictures were entered into awards and exhibitions such as Royal Photographic Society 2014 (Finalist), Int'l Photography Awards 2014 (IPA) (Honorable Mention), The AOP Open Awards 2013 (Winner of the Judges Choice with a Sea Study), Sony World Photography Awards 2012 (Shortlisted in the Travel category with the Arctic Circle Series) and The AOP Open Awards 2011 (Shortlisted with Royal Wedding Fever I), The Royal Photographic Society 155th International Print Exhibition 2012 (Chosen for Summer Exhibition with Pink Dress, Distant Dreamer), The Art Council Annual Jurier Exhibition 2011 in Stuart, Florida (Chosen for Exhibition with Royal Wedding Fever I and Royal Wedding Fever II) and Real People Exhibition 2011 for the Old Court House Art Center in Woodstock, Illinois (selected for the Exhibition with Girl With Hear Shaped Glasses), among others. In sharing my works with the world, I am thanking those who inspired me in the first place, that showed me how one can both capture and create poetry and music through images.
Luminous Icespaces is a series of photographs developed in Iceland and Alaska. When I visited the Jokulsarlon Glacial Lagoon in the southeast of Iceland, on the borders of Vatnajökull National Park, I was mesmerised by the icebergs that appeared like diamonds scattered on the beach at the beginning of Creation. The fragility of the ice on the beach where there is unceasing interplay of wave and sand - the very impermanence of the first and the eternal rhythm expressed by the second-was mesmerising.
Iceland's evolving and surrounding landscapes offer the opportunity of experiencing a hypnotic journey. Its climate, lighting and inherent sound activate your senses in a way you can find all kind of detail, from whispering winds of diamond dust, rainbow reveries to deep sound emanating from under the ice.
A series of photographs within this project show scenarios where ice is presented as a sequence of precious gemstones. It aims to emphasize their natural value since they are in some way the solitaire jewels of nature that we need to preserve in order to safeguard arctic environment for the future. Others show ominous, immense rigid walls of ice intermixed with dirt from Alaska, perhaps a metaphor of what the human existence has made to sully the purity of the ice.
I try and allow the viewer to experience this dichotomy and form their own opinion of this complex issue of what is happening to the melting of the work's glaciers.