ALAN McGUIRE welcomes the complete poems of Seamus Heaney for the unmistakeable memory of colonialism that they carry
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Visual time capsules
MICHAL BONCZA sees an exhibition of photography that offers intriguing glimpses of Britain
(Left) Untitled, (Right) Untitled
[Huxley-Parlour]
GORDON PARSONS is fascinated by a musical — and questioning — survey of Shakespeare’s attitude to women
MATTHEW HAWKINS enjoys the work of reading the essays of a rigorous and leading London/Caribbean cultural participant
ALEX HALL appreciates the history of a famous shoot-out that is sourced from diaries, letters, and newspapers of the time
MARIA DUARTE recommends an extraordinary film that explores an absent father’s attempt to make up to his sons
JOHN GREEN, MARIA DUARTE and LEO BOIX review The Shepherd and the Bear, Hamlet, Twinless, and 100 Nights of Hero
Jamie Hawkesworth: The British Isles, 2007-2020
Huxley-Parlour Gallery, London
HENRI CARTIER-BRESSON once said: “A photograph is neither taken or seized by force. It offers itself up. It is the photo that takes you. One must not take photos,” adding elsewhere that “it is an illusion that photos are made with the camera … they are made with the eye, heart and head.”
There is ample evidence here that Jamie Hawkesworth fully concurs as the work effectively displays much of the approach advocated by Cartier-Bresson. Particularly noticeable is the uniformly sublime composition, robust in appearance and mostly in close up which mesmerises.
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