Darren Almond

  • Darren Almond
    Somewhere Between IV
    2018
    Aquacryl sur aluminium
    50 x 40 x 3 cm
    Réf. DA018 12

  • Darren Almond
    Between Somewhere IV
    2018
    Aquacryl sur aluminium
    75 x 60 x 3 cm

  • Darren Almond
    Between Somewhere III, 2018
    Aquacryl on aluminium
    60 x 75 x 3 cm
    Réf. DA018 8

  • Darren Almond
    Sans titre
    2018
    Aquacryl sur aluminium
    210 x 154 x 4 cm
    Réf. DA018 23

  • Darren Almond
    Somewhere Between VIII
    2018
    Aquacryl sur aluminium
    50 x 40 x 3 cm

  • Darren Almond
    Somewhere Between XIII
    2018
    Aquacryl sur aluminium
    50 x 40 x 3 cm
    Réf. DA018 22

  • Darren Almond
    Fullmoon@Hanami – Yama
    2006
    C-print (mounted onto aluminium)
    126 x 126 cm (framed)

  • Darren Almond
    Fullmoon@Seilebhig
    2013
    C-print (mounted on glass)
    126 x 126 cm (framed)

  • Darren Almond
    Fullmoon@Tochigi
    2010
    C-print (mounted on glass)
    128 x 259 cm (framed)

  • Darren Almond
    Fullmoon@Huangshan
    2008
    C-print (face mounted on glass)
    279 x 130 cm (framed)

  • Darren Almond
    Fullmoon@Quatrain 3, 2005
    C-print (mounted onto aluminium)
    126 x 126 cm

  • Darren Almond
    Fullmoon@Torre Egger
    2013
    C-print (face mounted on glass)
    126 x 126 cm (framed)

  • Darren Almond
    West Sea Canyon
    2009
    C-print (face mounted on glass)
    279 x 354 cm (framed)

  • Darren Almond
    Fullmoon@Murchison Falls
    2009
    C-print (face mounted on glass)
    126 x 126 cm (framed)

  • Darren Almond
    Fullmoon@Cerro Torre
    2013
    C-print (face mounted on glass)
    126 x 126 cm (framed)

  • Darren Almond
    Night + Fog (Norilsk)(5)
    2007
    Bromide print
    Each : 245 x 98 cm

  • Darren Almond
    Night + Fog (Monchegorsk) (8)
    2007
    Bromide print
    126 x 156 cm (framed)

  • Darren Almond
    Night + Fog(Monchegorsk)(11), 2007
    Bromide print
    126 x 156 cm

  • Darren Almond
    Fullmoon@Argyll, 2007
    C-print (mounted onto aluminium)
    126 x 126 cm

  • Darren Almond
    Fullmoon@Cataratas, 2011
    C Print (face mounted on glass)
    121 x 121 cm

  • Darren Almond
    Fullmoon@Lettermacaward, 2007
    C-Print (face mounted on glass)
    121 x 121 cm

  • Darren Almond
    Artic Plate 4, 2003
    C-Print (face mounted onto glass)
    80 x 80 cm

  • Darren Almond
    Fullmoon@Fukuroda, 2006
    C-print (mounted onto aluminium)
    126 x 126 cm

  • Darren Almond
    Fullmoon@Quatrain 2, 2005
    C-print (mounted onto aluminium)
    126 x 126 cm

  • Darren Almond
    Fullmoon@St. Abbs, 2007
    C-print (mounted onto aluminium)
    126 x 126 cm

  • Darren Almond
    Arctic Plate 12, 2003
    C-Print (face mounted onto glass)
    80 x 80 cm

  • Darren Almond
    Artic Plate 6, 2003
    C-Print (face mounted onto glass)
    80 x 80 cm

  • Darren Almond
    Fullmoon@Colorado Plateau, 2012
    C-print (mounted onto aluminium)
    180 x 180 cm

  • Darren Almond
    In Reflection XI
    2016
    Acrylic on mirrored glass (12 panels)
    146 x 154 x 3,5 cm

  • Darren Almond
    Perfect Time (7 x 3), 2012
    Digital clocks
    103 x 90 cm

  • Darren Almond
    Perfect Time (11 x 2), 2013
    22 digital clocks
    159,5 x 60,5 cm

  • Darren Almond
    Perfect Time (12 x 1), 2013
    Digital clocks
    175 x 31 cm

  • Darren Almond
    Beyond Reason, 2013
    Acrylic on linen
    146 x 154 cm

  • Darren Almond
    Cusp, 2013
    Acrylic on linen
    77 x 50 cm

  • Darren Almond
    Common Time, 2013
    Acrylic on linen
    77 x 50 cm

  • Darren Almond
    Second Thoughts, 2012
    Aluminium and paint
    25 x 100 cm

Fascinated by the notion of time and its representation, Almond’s diverse body of work incorporates film, drawing, installation, sculpture and photography. His subjects are as diverse as clocks, train plates, bus shelters. They reveal feelings about the passage of time, themes of personal and historical memory, movement and space. For his Fullmoon series, Almond travels around the world to find new angles and the photographs he brings back contain deep references to the painting, without ever referring to it directly. He takes his photographs at night: the only source of light is the full moon. The landscape becomes visible by using extended exposure of time and turns a dark night into a light day, often appearing ghostly.

Exhibitions