Drawing from a range of references, from technology to architecture to biomorphic form, Jonathan Luckhurst’s minimalist abstractions are both familiar and strange. Using rudimentary sculpture and assemblage as his starting point, he manipulates form through a process of photography and collage. His interests lie in our shifting perceptions and relationship to materiality and environment and is influenced by writings such as Ronald Wright’s A Short History of Progress.
" Many of Luckhurst’s images incorporate analogue technologies, such as negative overlaying, photocopying, and light projection, to construct expressive biomorphic shapes that resemble and resist intelligible forms found in our natural and manufactured landscapes. This exchange between the familiar and the alien produces a sublimity that is achingly present, but also hard to locate. These images probe deeply into the dissonant exchange between landscapes, not in search of meaning per se, but seeking the gaps in seemingly coherent surfaces."
- Jacob Bermel . Brick Literary Journal
Jonathan Luckhurst is a photo based artist who currently lives and works in Edmonton, Canada. After spending three years documenting the Kumbh and Magh Mela mass Hindu pilgrimages in Northern India, Luckhurst turned to an art based photo practice. He has since experimented widely with his photographic work - incorporating paper negatives, photocopies, sculpture, charcoal and projection into his highly layered process. His abstraction techniques are created without the aid of digital equipment.
Luckhurst is the recipient of several grants from the Canada Council for the Arts (ACDI), the Alberta Foundation for the Arts and the Edmonton Arts Council. His work is part of the Alberta Foundation for the Arts permanent collection. His first solo exhibition was in 2010 at WAVE Gallery (Brescia, Italy) and in 2011 his first book was published by WAVE Editions.
In 2015 Luckhurst participated in the Vancouver Biennale International Residency Program in Squamish, BC where he created a large scale three-panel photographic intervention in a public space that explored the intersection of human made structures and the natural environment.