About Me

My photo

Edward Peck studied photography, fine arts, conceptual art, historical technics, film, and literature at the University of British Columbia. He then went on to work under a number of artists to develop his technical skills in photography, film, etching, watercolour, performance art and drawing. This has led him to work in many mediums over the years. Currently, he is working with digital photographic processes and has shown his work in both group and solo exhibitions. Peck works collaboratively with other visual artists, exhibiting locally and internationally. His work is held in private, corporate and public collections. Peck also edited and produced anthologies of Canadian Literature as well as assisted in the editing of a Canadian literary journal. This has led to his editing and production of artist books and exhibition catalogues.


Tuesday, 4 October 2016

Anthropocene Photography: An emerging school of Photography

Anthropocene Photographic Beginnings

In 1975 William Jenkins mounted a show at the George Eastman House in Rochester New York, featuring the following photographers Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Frank Gohlke, Nicholas Nixon and Stephen Shore. Out of this exhibition a new perspective on Landscape photography evolved; at first, the photographers were described as recording objective documentation of locations altered by humans, such are suburban sprawl and industrial buildings set within a landscape.  Jenkin's curation of these photographers' works brought out a new direction, as these photographers were more consumed by capturing the quotidian, the uniform, the uncomposed and the conceptual than they were in trying to show the alteration of the landscape. His curation was perhaps a reaction to landscape photographers such as Ansel Adams or Edward Weston, in that in their work, the human intrusion into landscape had been downplayed. More importantly, the exhibition pointed a number of photographers into a new direction: one perhaps less concerned with the social landscape and more concerned with the altered landscapes and its silent reflection on the social aspects of this alteration. This paralleled the emergence of environmentalism, which is perhaps the vanguard of the post-industrial revolution, where we are grappling with how to revolutionise our systems to work within the finite systems of the planet.

Subsequent Expressions

Perhaps this movement  was more fully expressed later on by photographers like Andrew GuskyEdward Burtynsky, David Maisel and Evan Anderman. I have included a few small samples below to illustrate my point, and provide a link to each of their sites.

Edward Burtynsky
Andrew Gursky
David Maisel
Evan Anderman
These photographers moved forward with the ideas Jenkin introduced capturing altered landscapes where the social commentary was overwhelmed by powerful imagery of the alterations. These imagines were no longer banal, nor uncomposed. They are the opposite: elegant, colourful, dramatic and lush compositions in large format. They, on face value, convey the power of our species to created and modify the landscape but at the same time left the view with the realization that it was not a "them" doing the alterations but rather a "we."

What Defines this School

This emerging school of photography can not be defined by New Topographies or Altered Landscapes, as these terms now suggest a school of photography that was more documentary, stark and often unrelated to landscape man-made or otherwise. This school is not a school of place either like the Dusseldorf School or the Vancouver School. Naming it Anthropocene Photography, suggests that this school is more about our planetary environment and our current relationship to that environment. An environment where there is no separation anymore between what is natural and what is created by us. There are some corollaries in other fields such as geology now being renamed earth sciences so that they include both natural and made environments.
Another hallmark of this school is rather than seeing the alterations of the landscape as stark, they seek to find colourful compositions that straddle the divide between a sense of wonder and a sense of pending disaster, while at the same time attempting to include the viewer as a participant in the alteration.
Edward Peck
Oct, 2016

Tuesday, 21 June 2016

Sunday, 15 May 2016

On the Rocks: Chesterman's Beach

The image was found in the intertital zone of Chesterman's Beach.


Monday, 11 April 2016

Series Draft Title: On the Rocks

I am experimenting with the intertidal zone and the compositions, colours and forms found there at low tide.


Tonquin Beach, Tofino

Tonquin Beach, February 2016

Sunday, 3 April 2016

Intervals: Photography in Flux

Don't Miss thIs Capture Photography Festival Exhibition - Closing April 9, 2016


Viewed collectively, their themes thread around the deconstruction of identity, environmental issues, the disposable society, speaking under oppression and mobile art is fine art. The works are presented through diverse photographic and printing methods such as encaustics, pigment ink on cotton rag, camera-less exposures, and iPhonography.


South Main Gallery, 279 East 6th Avenue, Vancouver, Canada

Exhibition Hours and Location

Intervals: Photography in Flux will be on from March 31 to April 9, 2016. Gallery hours are as follows: Tuesday to Thursday · 10am-5:30pm | Friday and Saturday · 11am-5:30pm | Sunday · by appointment Private viewing available. 279 East 6th Avenue, Vancouver, Canada

Nature Girl, Diana Nicholette Jeon
Diana Nicholette Jeon is a contemporary artist living and working in Honolulu, HI. She earned her MFA in Imaging and Digital Art from the University of Maryland Baltimore County in 2006. Jeon’s work has earned numerous awards, including two Hawai’i State Foundation Recognition Purchase Awards, First Place and five Honorable Mentions in the 5th Mobile Photo Awards, and being named as a New Era Museum Most Wanted Visionary in the Florence International Photo Awards. Her work has been exhibited internationally in over 100 exhibitions; venues include the Honolulu Museum of Art, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, and the San Diego Art Institute Museum.

The of Sofa's of LA, Andrew Ward

Andrew Ward

Andrew Ward studied film and photography at the Dublin Institute of Technology. He worked in Vancouver as a production assistant and since 1996 has been working as a first assistant director in
the Los Angeles film industry. For The Sofas of LA, Ward’s current project, he has become a photographer and chronicler of more than 600 abandoned sofas on the streets of Los Angeles. Ward’s current project has become all consuming. He has become a photographer and chronicler of more than 600 abandoned sofas on the streets of Los Angeles. His photos offer an elegiac archive of intimate objects and commentary on the burgeoning furniture-abandonment problem in transient urban areas like Los Angeles. The Sofas of LA will premiere in Intervals: Photography in Flux and a book documenting this visual history is forthcoming.

Other Artists in the Exhibition

David Ellingsen

David Ellingsen is a photographer and environmental artist who creates images of site-specific installations, landscapes and object studies that speak to the human impact on the natural world. Employing different photographic techniques for each thematic series, Ellingsen acts as an archivist, surrealist, and storyteller as he calls attention to the temporary state of the environment both directly and through subversive commentary about consumerist society. As a conceptual, humanistic photographer, Ellingsen poses questions about the transience and temporality of existence, and his subjects are marked by simplicity, empathy and a wounded sense of humanity’s fate.
Ellingsen lives and makes his work in Canada’s Pacific Northwest, moving between Vancouver, Victoria and the farm where he was raised on the remote island of Cortes. He began his photography career as a freelance editorial and advertising photographer, before committing to his current full-time art practice.
Ellingsen exhibits in Canadian and international public and private galleries. His work is held in private and public collections. He was awarded First Place at the Prix de la Photographie Paris and First Place at the International Photography Awards in Los Angeles. Currently, Ellingsen is working on a long-term, time-sensitive series Weather Patterns, which documents climate trends and shifting meteorological phenomena.

Phyllis Schwartz

Phyllis Schwartz is a multi-disciplinary artist and curator who works in photography, ceramics and publishing. She is an Emily Carr University of Art + Design graduate with a concentration in photography and a recipient of the Canon Photography Award. Her photography has been installed, exhibited and published locally, across Canada and internationally; her works are in corporate, public and private collections. These collections include the Farmboy Collection at the Rosewood Hotel Georgia and St. Paul’s Hospital Art Collection. Recent exhibitions include Telling Stories: a visual art exhibition (On-Tak Cheung Gallery/Chinese Cultural Centre, Vancouver), Illuminations and Impressions (die Bed├╝rfnisanstalt, Hamburg Germany), Cascadia (Surrey Art Gallery, Honourable Mention), and In Camera: the working dancer (Mezzanine Gallery, Queen Elizabeth Theatre, Vancouver).
Schwartz is one of the few contemporary artists making artwork using the lumen print process. These unique hybrid prints are made by a contact printing process that leaves traces and shadows on photosensitive surfaces that are digitized. Plant enzymes and atmospheric conditions also interact with the surface to produce unexpected results on photosensitive paper or sheet film, leaving X-ray-like marks of both their shapes and interiors. These impressions of organic forms hover on the cusp of abstract imagery and poetry.

Goga Bayat

For the past thirty-five years, Goga Bayat has been working extensively in the field of photography as a professional stills and portrait photographer. Her career as a stills photographer began in 1987 in Iran, and since then, she has worked on over twenty-five feature films, series, and plays. She is a founder of
Iranian Society of Still Photographers. Bayat’s fascination with what goes on in the back of people’s mind has led her to five solo exhibitions: four in Tehran, Iran and one in Parma, Italy. In addition, she has had five group exhibitions in Vancouver, Canada and more than twenty group exhibitions in Iran. In 2013, her very first novel, Eve’s Unique Situation, was published in Iran. Her second novel, The Narrator’s Tale Narrated by Onlooking Narrator was published fall 2015.http://www.gogabayat.com/Artist.asp…

Jim Friesen

Having explored both literature and photography, Jim Friesen is interested in the dynamic between words and pictures and how the imagination is stimulated by their collaboration. Even a single word, in a title, can affect the perception of an image and how we try to find narratives in random events to solve mysteries, both cosmic and mundane, with the vaguest of clues. His landscapes are an experiment in that direction. The images stand as individual pieces but also create a group harmonic that seems to connect them. The titles are chosen in a manner that was more serendipitous than studied and intended to imbue the images, both alone and as a group, with potential meaningFriesen studied journalism and creative writing at Red River College in Winnipeg and digital photography at Langara College, in Vancouver. As a poet and independent photographer, he has collaborated with Stephen Gross, of Gravity Press, to design and print books of their own work, as well as volumes of poetry for other writers.http://www.little-eye-studio.com

Edward Peck

Edward Peck has worked as a practicing artist since completing his BA/BFA and MA from the University of British Columbia. While he has worked in many mediums, he now devotes himself solely to photography, showing his work in both group and solo exhibitions. Peck works collaboratively with other visual artists, exhibiting locally and internationally. He produces and publishes both artist books and exhibition catalogues. His most recent publication is Home: Artists in Residence, a photo-documentation of Mary Filer and Harold Sales’ studios. Peck’s work is held in corporate, public and private collections.
The Reykjanes Series of images were made at the various geothermal areas found throughout Iceland’s Reykjanes Peninsula. This is his fourth series of photographic abstracts. This series, however, moves between intervals of realism of the ground where nature is mining minerals and bringing them to liquid form and an overwhelming show of nature’s undisturbed artwork. The images are of raw thermal energy, the kind that has catapulted Iceland into the 21st century, in terms of green renewable energy and its massive economic benefits. The images are as beautiful as the insight that they give into a future that is sustainable, environmentally sound and plentiful.

Friday, 1 April 2016

Artist Talk - Intervals: PhotographyInFlux- Capture Photography Festival

Artist Talk Featuring Diana Nicholette Jeon and Andrew Ward

This artist talk, as part of the month-long international Capture Photography Festival, will be at the South Main Gallery. Don’t miss a chance to talk to the artists about their work during on Saturday, April 2, 2016,  2–4pm. Other artists will be in attendance, 279 East 6th Ave., Vancouver

Intervals: Photography in Flux, March 31 to April 9, 2016

Viewed collectively, their themes thread around the deconstruction of identity, environmental issues, the disposable society, speaking under oppression and mobile art is fine art. The works are presented through diverse photographic and printing methods such as encaustics, pigment ink on cotton rag, camera-less exposures, and iPhonography.


South Main Gallery, 279 East 6th Avenue, Vancouver, Canada

Exhibition Hours and Location

Intervals: Photography in Flux will be on from March 31 to April 9, 2016. Gallery hours are as follows: Tuesday to Thursday · 10am-5:30pm | Friday and Saturday · 11am-5:30pm | Sunday · by appointment Private viewing available. 279 East 6th Avenue, Vancouver, Canada

Nature Girl, Diana Nicholette Jeon
Diana Nicholette Jeon is a contemporary artist living and working in Honolulu, HI. She earned her MFA in Imaging and Digital Art from the University of Maryland Baltimore County in 2006. Jeon’s work has earned numerous awards, including two Hawai’i State Foundation Recognition Purchase Awards, First Place and five Honorable Mentions in the 5th Mobile Photo Awards, and being named as a New Era Museum Most Wanted Visionary in the Florence International Photo Awards. Her work has been exhibited internationally in over 100 exhibitions; venues include the Honolulu Museum of Art, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, and the San Diego Art Institute Museum.

The of Sofa's of LA, Andrew Ward

Andrew Ward

Andrew Ward studied film and photography at the Dublin Institute of Technology. He worked in Vancouver as a production assistant and since 1996 has been working as a first assistant director in
the Los Angeles film industry. For The Sofas of LA, Ward’s current project, he has become a photographer and chronicler of more than 600 abandoned sofas on the streets of Los Angeles. Ward’s current project has become all consuming. He has become a photographer and chronicler of more than 600 abandoned sofas on the streets of Los Angeles. His photos offer an elegiac archive of intimate objects and commentary on the burgeoning furniture-abandonment problem in transient urban areas like Los Angeles. The Sofas of LA will premiere in Intervals: Photography in Flux and a book documenting this visual history is forthcoming.

Other Artists in the Exhibition

David Ellingsen

David Ellingsen is a photographer and environmental artist who creates images of site-specific installations, landscapes and object studies that speak to the human impact on the natural world. Employing different photographic techniques for each thematic series, Ellingsen acts as an archivist, surrealist, and storyteller as he calls attention to the temporary state of the environment both directly and through subversive commentary about consumerist society. As a conceptual, humanistic photographer, Ellingsen poses questions about the transience and temporality of existence, and his subjects are marked by simplicity, empathy and a wounded sense of humanity’s fate.
Ellingsen lives and makes his work in Canada’s Pacific Northwest, moving between Vancouver, Victoria and the farm where he was raised on the remote island of Cortes. He began his photography career as a freelance editorial and advertising photographer, before committing to his current full-time art practice.
Ellingsen exhibits in Canadian and international public and private galleries. His work is held in private and public collections. He was awarded First Place at the Prix de la Photographie Paris and First Place at the International Photography Awards in Los Angeles. Currently, Ellingsen is working on a long-term, time-sensitive series Weather Patterns, which documents climate trends and shifting meteorological phenomena.

Phyllis Schwartz

Phyllis Schwartz is a multi-disciplinary artist and curator who works in photography, ceramics and publishing. She is an Emily Carr University of Art + Design graduate with a concentration in photography and a recipient of the Canon Photography Award. Her photography has been installed, exhibited and published locally, across Canada and internationally; her works are in corporate, public and private collections. These collections include the Farmboy Collection at the Rosewood Hotel Georgia and St. Paul’s Hospital Art Collection. Recent exhibitions include Telling Stories: a visual art exhibition (On-Tak Cheung Gallery/Chinese Cultural Centre, Vancouver), Illuminations and Impressions (die Bed├╝rfnisanstalt, Hamburg Germany), Cascadia (Surrey Art Gallery, Honourable Mention), and In Camera: the working dancer (Mezzanine Gallery, Queen Elizabeth Theatre, Vancouver).
Schwartz is one of the few contemporary artists making artwork using the lumen print process. These unique hybrid prints are made by a contact printing process that leaves traces and shadows on photosensitive surfaces that are digitized. Plant enzymes and atmospheric conditions also interact with the surface to produce unexpected results on photosensitive paper or sheet film, leaving X-ray-like marks of both their shapes and interiors. These impressions of organic forms hover on the cusp of abstract imagery and poetry.

Goga Bayat

For the past thirty-five years, Goga Bayat has been working extensively in the field of photography as a professional stills and portrait photographer. Her career as a stills photographer began in 1987 in Iran, and since then, she has worked on over twenty-five feature films, series, and plays. She is a founder of
Iranian Society of Still Photographers. Bayat’s fascination with what goes on in the back of people’s mind has led her to five solo exhibitions: four in Tehran, Iran and one in Parma, Italy. In addition, she has had five group exhibitions in Vancouver, Canada and more than twenty group exhibitions in Iran. In 2013, her very first novel, Eve’s Unique Situation, was published in Iran. Her second novel, The Narrator’s Tale Narrated by Onlooking Narrator was published fall 2015.http://www.gogabayat.com/Artist.asp…

Jim Friesen

Having explored both literature and photography, Jim Friesen is interested in the dynamic between words and pictures and how the imagination is stimulated by their collaboration. Even a single word, in a title, can affect the perception of an image and how we try to find narratives in random events to solve mysteries, both cosmic and mundane, with the vaguest of clues. His landscapes are an experiment in that direction. The images stand as individual pieces but also create a group harmonic that seems to connect them. The titles are chosen in a manner that was more serendipitous than studied and intended to imbue the images, both alone and as a group, with potential meaningFriesen studied journalism and creative writing at Red River College in Winnipeg and digital photography at Langara College, in Vancouver. As a poet and independent photographer, he has collaborated with Stephen Gross, of Gravity Press, to design and print books of their own work, as well as volumes of poetry for other writers.http://www.little-eye-studio.com

Edward Peck

Edward Peck has worked as a practicing artist since completing his BA/BFA and MA from the University of British Columbia. While he has worked in many mediums, he now devotes himself solely to photography, showing his work in both group and solo exhibitions. Peck works collaboratively with other visual artists, exhibiting locally and internationally. He produces and publishes both artist books and exhibition catalogues. His most recent publication is Home: Artists in Residence, a photo-documentation of Mary Filer and Harold Sales’ studios. Peck’s work is held in corporate, public and private collections.
The Reykjanes Series of images were made at the various geothermal areas found throughout Iceland’s Reykjanes Peninsula. This is his fourth series of photographic abstracts. This series, however, moves between intervals of realism of the ground where nature is mining minerals and bringing them to liquid form and an overwhelming show of nature’s undisturbed artwork. The images are of raw thermal energy, the kind that has catapulted Iceland into the 21st century, in terms of green renewable energy and its massive economic benefits. The images are as beautiful as the insight that they give into a future that is sustainable, environmentally sound and plentiful.





Wednesday, 30 March 2016

Exhibition Catalogue Now Available - Intervals: Photography in Flux

Don’t miss a chance, at SoMa|South Main Gallery, to talk to the artists about their work on the Thursday opening night or during the artist talk on Saturday
March 31–April 9, 2016
Opening Reception: Thursday, March 31st, 2016, 7–9pm
Artist Talk: Saturday, April 2nd, 2016, 2–4pm
This catalogue, of an exhibition in the 2016 international Capture Photography Festival,  presents the work of seven artists using unique photographic techniques to discuss issues such as the environment, our disposable society, repression, identity deconstruction and poetry in the mundane. The book contains biographical material on each artist, the curatorial statement and images of works that were in the exhibition.The exhibition was presented in the South Main Gallery, Vancouver, Canada March 31st to April 9th.



Friday, 25 March 2016

Capture Photography Festival Opening

Presenting 7 global photographic artist new and recent works including 3 world premieres in the Capture Photography Festival.

Viewed collectively, their themes thread around the deconstruction of identity, environmental issues, the disposable social, speaking under oppression and the mysteries in the mundane. The works are presented through diverse photographic and printing methods such as encaustics, pigment ink on cotton rag, camera less exposures, and iPhonography.
Capture Photography Festival

Don’t miss a chance, at SoMa|South Main Gallery, to talk to the artists about their work on the Thursday opening night or during the artist talk on Saturday

March 31–April 9, 2016Opening Reception: Thursday, March 31st, 2016, 7–9pmArtist Talk: Saturday, April 2nd, 2016, 2–4pm
South Main Gallery279 East 6th AvenueVancouver, BC V5T 1J7
Tuesday to Thursday · 10am-5:30pm | Friday and Saturday · 11am-5:30pm | Sunday · by appointment Private viewing available
Seven global photographers converge in an exhibition about the rhythms and tensions in the contemporary geographical, social and psychological landscapes. Opening at SoMa|South Main Gallery (279 East 6th Avenue) on 31 March (7–9pm), Intervals: Photography in Flux features a unique collection of works by visual artists who draw upon photographic practices and techniques used in the 19th, 20th and 21st centuries. 
Intervals: Photography in Flux is an exhibition about the fluctuations in post documentary, contemporary photography. Photographers from Vancouver, Victoria, Los Angeles, Honolulu and Iran explore the rhythms and tension of their geographical, social and psychological landscapes. Andrew Ward and David Ellingsen both explore obsolesce, excess and the attachment to objects emerging from a rapidly fluctuating material world. Diana Nicholette Jeon turns the camera on herself, processing her emotions by deconstructing her image and reconstructing it into a dialogue about constructed identity. Goga Bayat and Jim Friesen explore inner psychological landscapes, resulting in poetic visual imagery with deep meaning. Edward Peck’s abstraction of the Icelandic landscape leads into Phyllis Schwartz’s analog/digital cameraless image making process, which result in abstract landscape forms expressing yearnings to live within a 21st century context.