PRESS
selected quotes, texts and press
' Nature is danger and beauty intertwined in a never ending dance '
in conversation with curator Jessica McBride at the exhibition 'Death of the Dream'.
‘ James moves beyond the falsity of icons to propose the need for a spiritual renaissance with nature. ’
text for 'All icons are false' by curator & critic Paul Carey-Kent.
' The mountain village of Budia in deepest Alcarria, Spain has hosted one of the most original, spectacular and high-quality exhibitions that are ever to be remembered. Not only for the artists restoration of the Baroque Convento de los Carmelitas but the incredible lighting installation hand built from old aluminium cans and bequest by the artist to the project. '
article by Jesus de Andres at the exhibition ’Renaciendo'.
' At the 'Dark Vat' artist residency, there were many micro histories to the extent that one artists process took root in the style of another. In this sense, Alexander James Hamilton is a sort of Stolz in comparison with the Krasnoyarsk Oblomov: his eyes are burning, activity is boiling like thunder; sociable with a good sense of humour and world wise. This residency offers artists a methodology of how not to fear their ambitions.
The uniqueness of this project is that the initiative came purely from the artist himself, this is very rare,' explains Oksana. - 'It seems to me that he is a mason who has a mission before humanity - to help everyone; and yet for him this is clearly the most difficult artist residency so far. '
text by Oksana Budulak, curator at Museum Mira, Krasnoyarsk, Siberia.
' Rather than capturing the moment spontaneously, James creates intricate sculptural compositions submerged in huge tanks of purified water as the object for his camera. The effect of light passing through, heightened against a darkened background, gives the resulting images a painterly appearance, recalling Dutch vanitas still lifes. This blurring of boundaries between photography, painting and sculpture renders James’s works uncategorisable and eerily beautiful. '
text by Anna McNay for Studio International Magazine.
´ Despite following the canon of traditional art Hamilton creates a unique, modern aesthetic, reinterpreting objects from the surrounding world and affirming the triumph of life over the transient. ´
text by Eloise Stevens 'Portrait of an artist'.
' Today as in the past we fight battles over access to oil, soon those same wars will erupt over access to clean water. This, the great fate of humanity consumes my thoughts daily. Continuing to explore it's environmental signature is a conversation that I have made a lifelong commitment to; that of unencumbered fresh water to all living species, and, clean oceans enabling their vital ecosystems to thrive; right now across vast areas around the globe they are barely surviving. '
a conversation with Emma Coccioli, author of 'Animae' published by Vernon Press.
‘ James’ fanatical insistence on being involved with every aspect of his creations is awe inspiring, and is perhaps only matched by his disdain for the easy route. ’
article by Dominic Perry, Culture Correspondent, Philistine Magazine.
' Artist Alexander James Hamilton creates meticulously crafted sculptural scenes; using studio made props, breeding butterflies, growing period specific flowers, hand making the dress and 24 carat gold halo for his Ophelia in 'Witness', 2012 from 'A beautiful announcement of death'; endeavours that imbue a harmonious dialogue with his subject that is ultimately to be encased within a vast underwater landscape. He does this solely for one purpose, that of documenting the realisation on a single 8 * 10 inch analogue camera plate.
These photographic plates are the only existing record of a far bigger conceptual process that is produced through his complete dedication to a renaissance studio practice. Perhaps in an effort to exercise a form of control; to relive its tragic baroque beauty. To preserve its memory, from ever being able to fade away.
The introduction of water serves its purpose both symbolically and as the functional device through which to achieve the painterly execution of these works; with the interaction of brushes and the artists bare hands on the surface tension of the water, literally painting the subject in light; the results of which are aching with the dramatic radiance of Caravaggio.
Working with analogue camera equipment and without post production, his life long dedication to in-camera purity establishes it's provenance when linked to painstaking preparatory work. '
text by academic Andrei Tolstoy, 1956-2016. Professor of Arts, Russian Academy of Arts.
´ The works of artist Alexander James Hamilton are beyond the time and trends of today's modern art world. They are deeply personal, sensitive and yet interwoven with layers of strength whilst being so tragically beautiful, causing an immediate catharsis effect which we discovered in his studio with our own eyes. ´
text by Daria Gorshkova, arts critic for BURO 247 .
‘ The photograph is the only existing record of a far bigger conceptual process that is produced through his complete dedication to a renaissance studio practice. ’
text by academic Andrei Tolstoy 1956-2016, Russian Academic, Professor Of Arts & President AICA Russia.
‘ Capturing the haunting and ephemeral moment in an intense state of depth and chiaroscuro. ’
article by Nina Azzarello for DesignBoom.
‘ Aching with the dramatic radiance of Caravaggio, James’ figures arise from a well of negative potential, as if from the depths of the fugitive self. ’
text by Lizzy Hajos, critical writer & academic.
' The result is an acceptance of the contingent in sequence of semi-controlled accidents, much as occurs in process based abstract painting like Richter’s, and with the characteristic attraction of being able to trace or at least speculate on what events have caused the particular outcome. '
text for 'All icons are false' by curator & critic Paul Carey-Kent.
‘ Walking in to any show by English artist Alexander James is like being in a multi story car park lit by Dan Flavin. ’
article by Anna McNay for Studio International Magazine.
‘ The consistency of his artistic vision is one of the most remarkable things about Alexander James. Having discovered his voice, he has devoted himself to articulating it with the lifelong self-discipline of a medieval monk. In our publicity chasing era, such conviction commands respect. He is an oak tree in the landscape of contemporary art, not some lesser rooted being that bows to wherever the wind of public opinion takes it. ’
text by Andrei Tolstoy 1956-2016. Russian Academic (Professor Of Arts & President AICA Russia) for the exhibition ´Rastvorennaya Pechal´.
' Technique is really a side issue, though complex you have to ask yourself why I would only want to make work in this way. By using photography as a purely documentary medium to capture these interventions, the photograph itself becomes a way to fix and extend the work; in itself a measure of time. I do this to preserve its memory before it can fade away; in as pure a form as I can.
This may seem strange, but to me the only strange thing about my practice is that I only want to produce these kind of works, and only this way. It can be done in other ways, but it would not be the same; not at all: through darkroom or digital manipulation of some kind, but this does not appeal to me. I have no desire to manipulate anything other than these liquid mechanics; if I used these other methods, tricks would occur to me and I would be able to repeat them endlessly, to me that would be horrific and the pieces no good. ´
transcript from live television Interview, RTV.
‘ A minimalist Gregory Crewdson. ’
Cary Georges, LA Times.
‘ Like Man Ray meeting Jet Li. ’
Michael Kimmelman, NY Times.
2026 selected by curator Paul Carey-Kent - ´Morpho, blood and water´.
2025 Interalia Magazine ´Perceiving Reality - The Enthalpy of Existence´.
2025 ´Goya reborn in water´ hosted in the 1,000 year old Castillo de Piedra Bermeja.
2023 'From water to the universe' cymatics & gravitational waves by curator Paul Carey-Kent.
2023 Interview with journalist Bob Chaundry at Considering Art.
2021 Islanders Magazine ´science, design & sustainability´.
2021 Paradise Magazine 'Makers Place turning rubbish into art in the Maldives´.
2021 In conversation with author Emma Coccioli discussing 'Fusion'.
2021 Curator Paul Carey-Kent writes 'Art into action into art' for FAD.
2021 'Makers Place' a carbon neutral recycling studio.
2021 Sustainable Lifestyle Magazine investigate 'Makers Place' recycling studio.
2020 Journalist Jesus de Andres of visits the exhibition 'Renciendo´.
2020 Text by Javier Poyatos Sebastian, professor at the University of Valencia.
2019 Art Critic & Curator Oksana Budulak explores the 'Dark Vat' artist residency.
2019 Sobaka Magazine visit the ´Dark Vat´ artist residency.
2019 Sayan TV Documentary shot inside the Dark Vat artist residency.
2019 Documentary Film I shot from inside 'Dark Vat'.
2019 Kultura24 TV ´Dark Vat´ artist residency housed in a disused photographic paper factory.
2019 Documentary Film II shot from inside 'Dark Vat'.
2019 TKV National News visit the Dark Vat artist residency.
2018 Vernon Press, USA publish 'Animae' interviews collated by Emma Coccioli.
2017 Luxury London 'Deep Water' .
2017 ArtNet interview ´challenging our understanding of the photographic medium´.
2017 Gallerist Jessica McBride explores the history behind artists working with flag motifs.
2017 Interview with ArtNet ´How can water be used as a medium´.
2017 Article 'Studio as laboratory' published in issue 13 AfterNyne Magazine.
2016 Article 'The butterfly effect' published by Christie's Magazine.
2016 Article 'Dancing with butterflies' by Tricia Divets of Private Air Magazine.
2016 'The great leveller' joins the Donna Spaan Museum Collection.
2016 'Pure Process' a discussion with Philistine Magazine's edition Crista Leonard.
2015 Russia Today 'Immersed In Moscow' television documentary.
2015 'Portrait of an artist' by Eloise Stevens.
2015 interview with FOUR Magazine's Arts Editor, Eva Luis Schwatz.
2015 Academic paper 'Chaos In Residence' by Eloise Stephens exploring the artist residency.
2015 'OIL + WATER' shortlisted for ‘Environmental photographer of the year 2015’ award.
2015 Interview with Jeff Campagna at Smithsonian Magazine.
2015 Four Magazine 'Malerisch Fotografiert' .
2014 Interview with Laissez Faire Arts Editor 'Ophelia & The Chocolate Factory'.
2014 'Deutche Welle' EuroMax TV explore the exacting underwater process.
2014 Interview with Anna Mcnay, Arts Critic for Studio International discussing Russia.
2014 Billionaire Magazine interview with discussions of Russia.
2014 'An Englishman in Moscow' Bric Magazine.
2014 Wall Street International explore the Moscow exhibition 'Rastvoyrennaya Pechal'
2014 ArtDaily visit the underground studio ´Red October´in Moscow creating works from within Russia.
2014 Studio visit & interview with Arts Editor Dana Gorshkova of BURO 247.
2014 Critical text by professor Andrei Tolstoy for the exhibition 'Rastvorennaya Pechal'.
2014 Royal Photographic Society 'the first British artist in 30 years to create art like this in Russia'.
2014 Live interview on Voice Of Russia Radio, London.
2014 interview ´Relocating to the Red October Studio in Russia´.
2013 Interview with Blouin Arts, Moscow Arts Editor, Nastassia Astrasheuskaya.
2013 Thames & Hudson publish 'Natre Morte' with texts by Dr Michael Petry.
2013 Interview with Moscow Times, Arts & Culture Editor 'Art & Russia'.
2013 The Positive asks ´Whats Behind The Art'.
2013 Interview with Charlotte Simmonds of New Statesman 'Painting with light'.
2013 Aestetica Magazine explore the exhibition 'Intersection'
2013 Article by Bob Chaundry, Arts Editor of the Huffington Post.
2013 'Dead Or Alive' Gavin Lucas, Editor of Creative Review deconstructs 'Glass'.
2012 'Tokyo Taxi' book (1988 - 2012) published by Merrell.
2010 Association Of Photographers IMAGE Magazine; cover article exploring 'Fusion'.
2010 LA TIMES magazine 'Tokyo Taxi'.
2009 Creative Review publish a monograph book 'Tokyo Taxi'.
2009 DIF Magazine publish 'Tokyo Taxi'.