Martin Seeds

Photography books by

• 2020, No Country For Young Men, Brighton: Self Published

Photography books with contribution by

• 2021, Efrem Zelony-Mindell, Primal Sight, New York: Gnomic Book

Solo exhibitions

• 2019, Violence Religion Injustice Death, Seen Fifteen, London, UK
• 2018, New Works, Niagara Falls Projects, Brighton, UK
• 2015, Alternative Ulster, PhotoMonth –  East London Photo Festival, London UK

Group exhibitions

• 2020, Photo London Digital with Seen Fifteen, London, UK
• 2020, Hurry Up Please Its Time, Seen Fifteen, London, UK
• 2020, With Monochrome Eyes, Borough Road Gallery, London, UK
• 2019,  The BREXIT Shop, Format Festival. Derby, UK
• 2018,  Field/s 1, Sluice HQ, London UK
• 2017,  Triptych, Irish Culture Centre with Seen Fifteen, Paris, France
• 2016, Assembly, The Regency Town House Brighton, UK
• 2016, Assembly, University of Brighton Gallery, Brighton, UK
• 2015, Alternative Ulster, Cork Photo Festival, Ireland.
• 2014, Alternative Ulster / I have troubles[…], Brighton Photo Fringe, Bighton, UK
• 2014, 5 studies of Tim, Create Gallery, Brighton, UK
• 2014, Residency exhibition, Woodstock, New York, USA
• 2014, Birds Over Stormont publication, Tokyo Institute of Photography, Japan
• 2012, Fresh Faced & Wild Eyed, The Photographers Gallery, London, UK

• No Country For Young Men (2020)
  Appropriated from a Belfast School Year book circa 1965-66, the portraits in No Country For Young Men depict youths on the cusp of adulthood during a time of great upheaval in the province. “These found portraits, enlarged and indistinct, possess an added resonance. They are appropriated from a Belfast school yearbook from 1965, a year of violent tremors in Northern Ireland that, with hindsight, seem darkly prescient. History hangs over these young boys like a falling shadow. As they stare, unknowing, into the camera lens, trouble awaits them as surely as night follows day.” Sean O’Hagan
• Disagreements (2019)
  This series began after the collapse of the Northern Ireland Assembly in late 2017.
  The work is a response to the Northern Ireland Assembly’s failure to negotiate the contrasting political viewpoints that have created a difficult and seemingly unresolvable political landscape. The works are made in the public grounds of the Stormont Estate, which surround the Parliament building.
• Masks (2018)
  Masks is a response to the recent rise in dissident terrorist activity in Northern Ireland and considers a historical symbol of terrorism and aggression. This large series of silver gelatine contact prints have been made by placing the screen of an iPad, displaying an appropriated image, directly onto traditional darkroom paper. The resulting soft, yet disturbing images allude to the troubles of the past and stir ominous thoughts about the alarming escalation of paramilitary style ‘punishment’ shootings and beatings in the province..
• Assembly (2016)
  Assembly is a body of work in six parts, that is set in the Stormont Estate, the home of the Northern Ireland Assembly. The work uses the power of photography to generate allegory – letting the plants, trees and foliage deliver a message from the grounds surrounding the Northern Ireland parliament building about the struggles embedded in a fragile political landscape. Assembly suggests the importance of the grounds as a common material space beyond culture in which difference and likeness are both articulated and intertwined in a natural world outside of the political chamber.