Roebling Hall is extremely pleased to present Sit Up Straight, Eat from the Plate, Vegetables Meat, Pudding for a Treat, the first U.S. solo exhibition of the photographs of renowned British artist Nick Waplington in six years.

Spanning the period when Nick Waplington began making photographs in the early 1980s to the present day, Sit Up Straight, Eat from the Plate, Vegetables Meat, Pudding for a Treat features works from his latest, limited edition book You Love Life (Trolley Books), as well as several large scale new works, which have been ten years in the making. Saturated in color, these large format photographs expose, warts and all, the underlying, sometimes unnervingly surreal character of the every day. As Waplington states in the introduction to You Love Life, these photographs are ?a work about life and the choices I have made and the choices which have been made on my behalf.?

Waplington?s expansive photographic vision runs the gamut of lived experience, ranging widely over moments of genuine poetic beauty to images of the grotesque and the base. Traversing visual terrain as varied as a crowded London club to streams of rushing water in the Welsh countryside, Waplington invests his most personal experiences with universal significance. Witness an image of the birth of his son, as well the social ferment of the Glastonbury Music Festival. A fly on the wall during the unveiling of his own life and that of thousands of others, Waplington?s photography crashes the party or disaster that is everyday life, emerging with a visual record that is unique in its intimacy, kind-heartedness and, ultimately, compassion.

Beginning with his influential book Living Room (Aperture 1991), which featured introductions by Richard Avedon and John Berger, and later with his second book The Wedding (Aperture 1996), Waplington has continually produced compelling, powerful images that have achieved cult status in Britain and won numerous photographic awards.

Nick Waplington has exhibited in, among other venues, National Museum of Photography, Bradford, UK; Philadelphia Museum of Art, Philadelphia; Burden Gallery, Aperture, New York; Royal Photographic Society, Bath, UK; Norton Museum, Palm Springs, FL; and Museum 52, London. His work was featured at the 49th Venice Biennial and is presently in the collections of many of the world?s leading museums, among them: Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; Philadelphia Museum of Art, Philadelphia; The Royal Danish Photographic Museum, Copenhagen; National Gallery of Australia; The Glasgow Museum, Scotland.

For further information or images, please contact the gallery at or visit roeblinghall.com.

22 November ? 7 January 2006
Opening Reception: Tuesday, 22 November, 6 ? 8 pm
Hours: Tuesday ? Saturday 10-6 PM

Roebling Hall is extremely pleased to present Sugar, an exhibition of intensely affecting new works of sculpture, photography and film by Reynold Reynolds & Patrick Jolley, in collaboration with the artist Samara Golden.

A woman comes out of a refrigerator, crawls across the floor, opens the heating vent and exhumes a corpse - her own. From this crisis point, Sugar tracks a journey into the vertiginous realms of the mind. Dissolving the parameters between reality and psychosis, dream and delusion, Reynolds and Jolley descend into a labyrinth created through the arresting performance of Samara Golden.

A small apartment is filled to overflowing with someone?s past. The protagonist opens the door, uncertain whether she is arriving or returning. As she struggles with the space, the camera shifts focus between agoraphobia, claustrophobia, the internal and the external, the watcher and the watched. Taking its cues from film history, Sugar moves through suspicion, voyeurism, murder, revenge, guilt and reconciliation. The nostalgic-elegiac quality of the footage, combined with the classical pacing of Reynolds and Jolley?s purposefully involuted story create an enveloping scene that floats uneasily between real-time drama and subjective, non-linear experience.

Accompanying the film loop, Reynolds and Jolley further explore these unsettling territories with the expansion of the film device at the centre of the story. This impossible ?three-dimensional film still? uses two life-size, hyper real sculptures to present a live self and a dead self in communion together. By means of this literal representation of the doeppelganger, Reynolds and Jolley allow for a sustained and powerful view of the dark, dead centre of the minds eye. A mix of the best hallucinogenic effects of both Duane Hanson and David Lynch, these sculptures in particular provide an hypnotic echo of life just beyond the threshold of the conventionally reasonable and the familiarly rational.

Reynold Reynolds & Patrick Jolley have exhibited in, among other venues, Tate Modern, London; National Gallery of Art, Washington DC; Hammer Museum, Los Angeles: Secession, Vienna: Havana Biennial, Havana, Cuba. Their films have shown in many international festivals, including Sundance, The Edinburgh Festival, and the Rotterdam Film Festival. Reynolds and Jolley?s 2003 project Burn will be exhibited at the 2007 Berlin Biennial.

For further information or images, please contact the gallery at or visit roeblinghall.com.

October 18 ? November 19, 2005
Reception for the artist: Tuesday, October 18, 2005, 6 ? 9 pm
Hours: Tuesday ? Saturday 10-6 PM

Roebling Hall is very pleased to present the first solo show in the U.S. of London-based artist Richard Galpin.

By stripping back photographs of complex urban structures, Richard Galpin reveals fragmented forms in dynamic spatial compositions. Each work is a single photographic print that has been meticulously scored and peeled to remove certain areas of the surface emulsion. Interplay between the angular abstractions of the stripped white paper, and the pristine surface of the remaining photograph, results in a dazzling reconfiguration of space. Through this reductive process, new forms emerge.

For this exhibition, Galpin has produced several works based on the New York cityscape. In both ?Automaton? and ?Neo-capital? views of the Times Square area are reduced to a central cluster of elements which mass and take on a free-standing form of their own. The experience of the city that the work presents is one of stimulating disorientation, and delight in its formal pleasures. Simultaneously, Galpin?s increasingly complex reworking of his own photographs begins to contemplate a fantastical revolutionary reconstruction project.

Other works included in this exhibition focus on more singular structural forms. In Phase Two, a reworked building site appears as a launch pad projecting skyward, and in Fantasy Mouse and Odyssey the structures of roller coasters become dynamic and exuberant abstractions. These works are more playful, and less overtly architectural than the cityscape works, and yet proffer a similar kind of utopian optimism.

Galpin engages with the formal aspects of early modernist abstraction, Constructivism and Futurism, while also working with and against the forms within his original photographs. Inescapably bound to the present, the surface detail delivers traces of contemporary urban experience. However any reading of these works as a representation of an existing place and time is confounded by the artist?s radical revision of the image.

Richard Galpin has had solo exhibitions at Hales Gallery (London) and Galeria Leme (Sao Paulo). His work has been selected for a variety of survey shows that investigate alternative uses of photography such as: Attack:Attraction, Painting/Photography at the Marcel Sitcoske Gallery (San Francisco), The Photograph in Question at Von Lintel Gallery (New York), and Looking With/Out at the Courthauld Institute of Art (London). He was recently selected by the magazine Art Review as one of the art world?s top One Hundred Emerging Artists

For further information or images, please contact the gallery at or visit roeblinghall.com.