Alexander James, 2010
detail of ‘Bitter sweet table’ from 'Vanitas'
C-type print. Face mounted with museum grade anti-reflect acrylic.
'snug' framed in a narrow sight edged deep walnut.
II Artists Proofs
Alexander James
‘Constellation’ 2015 from
'Oil + Water'
200 x 150 cms unique chromogenic print
II artist proofs (each a differing & unique size)
CLICK HERE to view catalogue & texts
Alexander James
2012
preparatory work
detail of ‘Plate 0203’ from 'A beautiful announcement of death'
NOT RELEASED
CLICK HERE to read the exhibition catalogue
Alexander James
2012
preparatory work
detail of ‘plate 0158’ from 'A beautiful announcement of death'
NOT RELEASED
CLICK HERE to read the exhibition catalogue
Alexander James
2012
‘Veiled skull with flowers’ from 'A beautiful announcement of death'
Edition of 3 sized at 20 cm x 30 cms
Edition of 10 sized at 120 cm x 90 cms
C-Type print. Face mounted with museum grade anti-reflect acrylic.
'snug' framed in a narrow sight edged deep walnut.
Alexander James
2010
detail of 'Elipse' from 'Rosae'
120 x 90 cms chromogenic print
Edition of 10
The red rose, a symbol of unrelenting love is juxtaposed here against a deep dark void. These branded motifs are not created as an homage, but instead a social commentary. We ourselves seem to be drowning in a society that is dominated by a reverence towards the new religion of media, flocking to the church of brand and celebrity.
Alexander James
detail of ‘Loves resurrection’ from 'Vanitas'
C-Type print, mounted to polished aluminium. Face mounted with museum grade anti-reflect acrylic.
'snug' framed in a narrow sight edged deep walnut.
Edition I: 60 cm x 45 cm edition of 10
Edition II: 120 cm x 90 cm edition of 10
Artist Proof 200 x 150 cms VIEW inventory artworks
Alexander James
Moscow, 2014
‘Jupiter’ from 'Rastvoyrennaya Pechal'
120 x 90 cms unique chromogenic print - SOLD
II artist proofs (each a differing & unique size)
CLICK HEREto view exhibition catalogue with texts by Andrey Tolstoy (née. Leo) 1956-2016
Alexander James
2011
‘Morpho Amathonte 0219’ from 'Swarm'
Chromogenic print, mounted to polished aluminium with a/r acrylic face.
'snug' framed in walnut.
Editions of 10 sized 40 x 40cms, 60 x 60cms & 160 x 160cms
+ II Artist Proofs...
Alexander James
2013
‘Grace’ from 'Vanitas'
C-Type print, mounted to polished aluminium. Face mounted with museum grade anti-reflect acrylic.
'snug' framed in a narrow sight edged deep walnut.
Editions of 10 in 60 cm x 45 cms & 120 x 90 cms limited availability
Artist Proof 200 x 150 cms
CLICK HERE to view inventory artworks
Alexander James
Moscow, 2014
‘Arcana I’ from 'Rastvoyrennaya Pechal'
120 x 90 cms unique chromogenic print
II artist proofs (each a differing & unique size)
CLICK HEREto view exhibition catalogue with texts by Andrey Tolstoy (née. Leo) 1956-2016
Alexander James
2011. ‘Morpho Amathonto 0220’
C-Type print, mounted to polished aluminium with a/r acrylic face. Face mounted with museum grade anti-reflect acrylic.
'snug' framed in a narrow sight edged deep walnut.
Edition I: 40 x 40 edition of 10; SOLD
Edition II: 60 x 60 edition of 10; SOLD
Edition III: 160 x 160 edition of 10; SOLD
2 Artists Proofs - SOLD
Alexander James
2014
'Aberration No I' from 'Transparency of a dream'
C-Type print, mounted to polished aluminium box framed behind museum anti-reflect glass.
160x160 cms unique chromogenic print
II artist proofs (each a differing & unique size)
CLICK HERE to view catalogue & texts
Alexander James
2010
‘Isis Bound’ from 'Vanitas'
Chromogenic print, mounted to polished aluminium
+II Artists Proofs
Alexander James
2012
'Vitreous Love' from 'Glass'
C-Type print, mounted to polished aluminium, box framed behind ArtGlass.
Edition of 10 in 60 x 60cms, 100 x 100cms & 140 x 140cms
+II Artists Proofs
These works explore a process that removes the piment from flower petals, replacing the colour with highly purified water leaving only the glass like structure of skeletal veins visible.
Alexander James
2010
detail of ‘untitled plate 4-0592’ from 'Vanitas'
C-Type print, mounted to polished aluminium.
Face mounted with museum a/r acrylic face.
II Artist Proofs
Alexander James
2014
‘Plate 0813-021’ from 'Transparency of a dream'
C-Type print, mounted to polished aluminium box framed behind museum anti-reflect glass
160x160 cms unique chromogenic print - SOLD
II artist proofs (each a differing & unique size)
CLICK HERE to view catalogue & texts
Alexander James
Siberia, 2015
‘Birthing Place’ from 'Oil + Water'
60 x 60 cms unique chromogenic print
mounted to hand polished aluminium 3mm sheet, signed and dated reverso
framed in solid cold forged brass rails
II artist proofs (each a differing & unique size)
CLICK HERE to view catalogue & texts
Alexander James
Siberia, 2015
‘Dark Matter’ from 'Oil + Water'
2015
120 x 90 cms unique chromogenic print SOLD
mounted to hand polished aluminium 3mm sheet, signed and dated reverso
framed in solid cold forged brass rails
II artist proofs (each a differing & unique size)
CLICK HERE to view catalogue & texts
Alexander James
Siberia, 2015
‘Ptolemy’ from 'Oil + Water', 2015
60 x 60 cms unique chromogenic print - SOLD
Unique C-Type print, mounted to 3mm aluminium, signed and dated reverso
framed in solid cold forged brass rails
II artist proofs (each a differing & unique size)
CLICK HERE to view catalogue & texts
Alexander James
Moscow, 2014
‘Mycenaean I’ from 'Rastvoyrennaya Pechal'
120 x 90 cms unique chromogenic print
II artist proofs (each a differing & unique size)
CLICK HEREto view exhibition catalogue with texts by Andrey Tolstoy (née. Leo) 1956-2016
Alexander James, 2017
‘The death of the dream of democracy’ Plate 0180 - STUDIO PROOF
unique 59.4 x 33.3 cms chromogenic print
Overpainted in oils and aged. Mounted to hand finished 2mm aluminium plate with black edging.
For me this work was important to create and was the very first time in 30 years that political events have influenced such a direct piece. Alexander Hamilton (1757-1804), my namesake was an American statesman and one of the Founding Fathers of the United States. He was an influential interpreter, defender & promoter of the U.S. Constitution, as well as the founder of the nation's financial system, the Federalist Party, the United States Coast Guard, and The New York Post newspaper. The very constitution they created I believe is at threat.
Throughout history there have been many leaders where a love of gold has led them astray. Donald Trump is a reality tv president, for him substance doesn’t matter in your message. A presidential process that cuts out the messengers of incisive journalism by going direct to market with his twitter feed, allowing for issue dodging CEO type tactics unseen before in a world leader.
Water is a core element of my practice and globally it is in crisis with rising sea levels from global warming, overfishing, plastic pollution and freshwater pollution through deforestation and the clearly linked rising CO2 levels. The paris agreement is a genuine solution towards de-carbonisation. With President Trump leaving the Paris Agreement he joins only 2 other countries that are not member states; Syria which is at war and Nicaragua which protested against signing for an even more stringent agreement, placing the American Presidents decision as socially diminished at best, re-affirming his public statements of disbelief in the 'hoax' of global warming.
What is also of concern is that of a critical situation arising where he is awoken at 3am when something terrible has happened and he needs to make a decision in 5 minutes; I worry that the wording released on twitter will be more carefully considered than an ill fated decision with immeasurable repercussions. His behaviour is that of a tyrant thus far and to commemorate the ideals of the constitution at this specific point 100 days or 6.8% into his 4 year tenure.
This is my momento mori to the American dream ‘The death of the dream of democracy’. Made from 2000 flower petals & 24 carat gold, a vanitas work depicting the American stars and stripes flag undulating in a wave of gold etched turbulence.
Installation view of 'Transparency of a dream illuminated'
works created 2014, seen here in 2017 at 'Death of the dream'
CLICK HERE to view catalogue & texts
Alexander James
2010
detail of 'Chanel' from 'Rosae'
120 x 90 cms chromogenic print
Edition of 10
The red rose, a symbol of unrelenting love is juxtaposed here against a deep dark void. These branded motifs are not created as an homage, but instead a social commentary. We ourselves seem to be drowning in a society that is dominated by a reverence towards the new religion of media, flocking to the church of brand and celebrity.
Alexander James
2012
detail of ‘Turned From Heaven's Door’ from 'A beautiful announcement of death'
C-Type print, mounted to polished aluminium with a/r acrylic face.
'snug' framed in a narrow sight edged deep walnut.
180 cm x 135 cm edition of II - SOLD
+II Artists Proofs
CLICK HERE to read the exhibition catalogue
Alexander James
2012
detail of 'untitled plate 3-0623' from 'Glass'
200 x 150 cms unique chromogenic print
NOT RELEASED
These works explore a process that removes the piment from flower petals, replacing the colour with highly purified water leaving only the glass like structure of skeletal veins visible.
Alexander James
2012
detail of 'untitled plate 5-2764' from 'Glass'
160 x 160 cms unique chromogenic print
NOT RELEASED
These works explore a process that removes the piment from flower petals, replacing the colour with highly purified water leaving only the glass like structure of skeletal veins visible.
Alexander James, 2017
‘The death of the dream of democracy’ Plate 0180
unique 145 x 80 cms backlit print
Framed behind museum glass in walnut & bedded in black cotton velvet
175w x 110h x 7d cms framed
For me this work was important to create and was the very first time in 30 years that political events have influenced such a direct piece. Alexander Hamilton (1757-1804), my namesake was an American statesman and one of the Founding Fathers of the United States. He was an influential interpreter, defender & promoter of the U.S. Constitution, as well as the founder of the nation's financial system, the Federalist Party, the United States Coast Guard, and The New York Post newspaper. The very constitution they created I believe is at threat.
Throughout history there have been many leaders where a love of gold has led them astray. Donald Trump is a reality tv president, for him substance doesn’t matter in your message. A presidential process that cuts out the messengers of incisive journalism by going direct to market with his twitter feed, allowing for issue dodging CEO type tactics unseen before in a world leader.
Water is a core element of my practice and globally it is in crisis with rising sea levels from global warming, overfishing, plastic pollution and freshwater pollution through deforestation and the clearly linked rising CO2 levels. The paris agreement is a genuine solution towards de-carbonisation. With President Trump leaving the Paris Agreement he joins only 2 other countries that are not member states; Syria which is at war and Nicaragua which protested against signing for an even more stringent agreement, placing the American Presidents decision as socially diminished at best, re-affirming his public statements of disbelief in the 'hoax' of global warming.
What is also of concern is that of a critical situation arising where he is awoken at 3am when something terrible has happened and he needs to make a decision in 5 minutes; I worry that the wording released on twitter will be more carefully considered than an ill fated decision with immeasurable repercussions. His behaviour is that of a tyrant thus far and to commemorate the ideals of the constitution at this specific point 100 days or 6.8% into his 4 year tenure.
This is my momento mori to the American dream ‘The death of the dream of democracy’. Made from 2000 flower petals & 24 carat gold, a vanitas work depicting the American stars and stripes flag undulating in a wave of gold etched turbulence.
Alexander James
2010
‘Frequency resurrection’ from 'Vanitas'
C-Type print, mounted to polished aluminium.
Face mounted with museum a/r acrylic face.
+II Artist Proofs
Alexander James
2016
detail of ‘An honest man’ Plate 0488 from 'Offshore Recordings'
unique silver gelatin 20 x 16 inch print
Alexander James
2016
detail of ‘War, policitcs & money’ Plate 0448 from 'Offshore Recordings'
20 x 16 inch unique silver gelatin print
Alexander James
2012
‘Witness’ from 'A beautiful announcement of death'
C-Type print, mounted to polished aluminium with a/r acrylic face.
'snug' framed in a narrow sight edged deep walnut.
180 cm x 135 cm edition of 2 - SOLD OUT
+II artists proofs
CLICK HERE to read the exhibition catalogue
Alexander James
2012
'Riverbrook with roses' from 'A beautiful announcement of death'
160 cm x 80 cm edition of II - SOLD OUT
+II Artists Proofs
C-Type print, mounted to polished aluminium with a/r acrylic face.
'snug' framed in walnut.
CLICK HERE to read the exhibition catalogue
Alexander James
2016
‘Plate 0469-1.1’ from 'All icons are false'
unique artist archival hand print 60 x 42 cms
float mounted above museum board
box framed in hand stained & waxed English Ash
behind museum art glass
+ II artist proofs (each a differing & unique size)
CLICK HERE to view exhibition catalogue with texts by Paul Carey-Kent.
Alexander James
2016
‘Plate 0336-9’ from 'All icons are false'
unique artist archival hand print 60 x 42 cms
float mounted above museum board
box framed in hand stained & waxed English Ash
behind museum art glass
+ II artist proofs (each a differing & unique size)
CLICK HERE to view exhibition catalogue with texts by Paul Carey-Kent.
Alexander James
2016
‘Plate 0305-8.3’ from 'All icons are false'
unique artist archival hand print 60 x 42 cms
float mounted above museum board
box framed in hand stained & waxed English Ash
behind museum art glass
+ II artist proofs (each a differing & unique size)
CLICK HERE to view exhibition catalogue with texts by Paul Carey-Kent.
Alexander James
2016
‘Plate 0261-8’ from 'All icons are false'
unique artist archival hand print 60 x 42 cms
float mounted above museum board
box framed in hand stained & waxed English Ash
behind museum art glass
+ II artist proofs (each a differing & unique size)
CLICK HERE to view exhibition catalogue with texts by Paul Carey-Kent.
Alexander James
2014 - Ongoing
‘Transparency of a dream illuminated - Plate IV’
from 'Death of the dream'
Unique FujiTrans print from original 8*10 inch plate
reverse painted in black enamel, mounted between 2 museum glass plates
backlit with archival 0% uv light panel & remote dimmer
framed in black cotton velvet & American walnut
finished size 52.3w x 44.7h x 5d cms
‘The death of the dream of democracy’
collection of 9 unique works in 3 x 3 grid formation
Alexander James, 2017
Unique Work
9 Unique 59.4 x 33.3 cms chromogenic hand prints, over painted in oils
each mounted to hand finished 2mm aluminium plate
works are hung in 3x3 grid with central work (Plate 0180) inverted
each is signed, dated & annotated reverso
Alexander James
2014 - Ongoing
‘Transparency of a dream illuminated - Plate XII’
from 'Death of the dream'
Unique FujiTrans print from original 8*10 inch plate
reverse painted in black enamel, mounted between 2 museum glass plates
backlit with archival 0% uv light panel & remote dimmer
framed in black cotton velvet & American walnut
finished size 52.3w x 44.7h x 5d cms
Alexander James
No. 119 [Latitude 5.392977 Longitude 72.979620. Baa Atol, Maldives], 2017-18
Unique photogram transfer mounted to recycled aluminium plate
from the series 'Visions from the shoreline'
Signed, annotated and dated by the artist in black pen, lower left on verso.
60 (h) x 42 (w) cm (23.6 x 16.5 in.)
Alexander James
No. 100 [Latitude 5.094434 Longitude 73.061980. Baa Atol, Maldives], 2017-18
Unique photogram transfer mounted to recycled aluminium plate
from the series 'Visions from the shoreline'
Signed, annotated and dated by the artist in black pen, lower left on verso.
60 (h) x 42 (w) cm (23.6 x 16.5 in.)
Alexander James
No. 100 [Latitude 5.116424 Longitude 73.072618. Baa Atol, Maldives], 2017-18
Unique photogram transfer mounted to recycled aluminium plate
from the series 'Visions from the shoreline'
Signed, annotated and dated by the artist in black pen, lower left on verso.
60 (h) x 42 (w) cm (23.6 x 16.5 in.)
framing execution of illuminated PhotoGrams
Unique 8 * 10 inch photogram transfer to archival FujiTrans print
mounted to museum glass and illuminated by archival light panel
Signed and dated by artist in black pen on verso
Unique Studio Proof (1/1 SP)
Framed: 40.5 x 34.5 x 5 cm (16 x 13.5 x 2 in)
Alexander James
'untitled 8080'
2009
C-Type print, mounted to polished aluminium unframed.
Edition of 10; limited availability
2 Artists Proofs
to enquire about this artwork please contact Info (at) Distil Ennui.com
Alexander James
No. 085 [Latitude 5.116424 Longitude 73.072618. Baa Atol, Maldives], 2017-18
Unique photogram transfer mounted to recycled aluminium plate
from the series 'Visions from the shoreline'
Signed, annotated and dated by the artist in black pen, lower left on verso.
60 (h) x 42 (w) cm (23.6 x 16.5 in.)
Ocean Painting.
Plate No. 4364 [Latitude 5.110168 Longitude 73.076008]
Unique Print
Baa Atoll, Maldives
Ocean Painting.
Plate No. 4741 [Latitude 5.110168 Longitude 73.076008]
Unique Print
Baa Atoll, Maldives
Ocean Painting.
Plate No. 3950 [Latitude 5.110168 Longitude 73.076008]
Unique Print
Baa Atoll, Maldives
