Bill Anderson

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City Church, ed. 3/10, 2014
Archival pigment print on 300 gram rag paper
20 x 30 in.

Bill Anderson was born in Edinburgh, Scotland; he now lives in Vancouver, BC. After spending twenty five years working with traditional large format photography, and alternative printmaking techniques, including Gum Bichromate, Cyanotype, and Platinum, Bill has leveraged the considerable interpretive potential of digital acquisition to realize this portfolio of color work.

The force behind creating these images was born out of a desire to harmonize elements often avoided in the search for a perfect, or untroubled brand of beauty, and to explore examples of the individual's interaction with the environment. What we're capable of for the sake of profit and industrial progress is well known to the environment, but what motivates the timeless habit of leaving our, often intimate, and primitively creative marks behind on any surface conducive to the task?

His work has been featured in a number of exhibitions within Vancouver and Los Angeles. In the winter of 2014 Bill’s work was featured at Winsor Gallery as part of a group exhibition entitled The Edition 2014, a folio of five contemporary works produced in a closed edition of 15. More recently, his work was exhibited at Paris Photo Los Angeles 2015, the West Coast arm of the French photography fair.

About his work he writes:

Each image in the series, Continuum, consists of an accumulation of images made from different vantage points and times of day, the piling up of the near and far, and overlapping presents - the many here and nows. Forms, and their colours, light and shade, mingle to create new and unique forms that, no matter how strange, always seem pertinent.

Since the final image is made in situ, and not constructed afterwards, the approach depends a great deal on intuition and spontaneity. One misstep along the way and there is no going back. I believe this allows for a more intimate and revealing dance with the subject, whether it's as common as a plastic bag or as dynamic as a religious pilgrimage. However, my main concern does not lie with the act of recording a place, or even with interpreting it, it has more to do with using its resources to create another place, and that that place should reside in the two dimensions of the art - the art itself as place.