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Fine Art Documentation

@fineartdocumentation

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Formal photographic documentation of artworks and exhibitions, London based.
Personal: @bcosmow

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📍 SLOUGH | UNSTRUCK MELODY

To see people engaging so openly with the exhibition, taking part in Simran, spending time creating and embracing moments of stillness reminded us why we do what we do.

We’re deeply grateful to @nepsidhu for trusting us with this work and our collaboration that continues to spark reflection, conversation and genuine human connection.

Created by artist Nirbhai (nep) Singh Sidhu in collaboration with without SHAPE without FORM, UNSTRUCK MELODY was first presented during the 2023 London Design Festival at the V&A South Kensington. It feels incredibly special to now welcome the exhibition into our home in Slough, where it begins a new chapter and will continue to grow through the people who experience it.

Across tapestry, painting, film and sculptural forms, the exhibition explores Simran (focused practice), Seva (selfless service) and Sangat (community and gathering), inviting us to reflect on deep listening, presence and the possibility of inner transformation.

UNSTRUCK MELODY
8 Jul 2026 – 8 May 2027
without SHAPE without FORM, Slough

FREE and OPEN TO ALL

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New Contemporaries at South London Galleries has come to a close, and now migrates north to MIMA 🧿

Being part of this exhibition has been so special to me; thank you to everyone at @southlondongallery and @new_contemporaries who made it happen, and to the team at @mimauseful who are taking it to a new home.

At New Contemporaries: @kiera_blakey, @seamusmccormack, @sophie_bownes and @rosiehannahgibson

At MIMA: @daniellekayash @clairelouisestaunton and @helen_welford_

And to selectors @pioabad, @louise___giovanelli and @theofficialgracendiritu for giving my work space and time to exist.

@mimauseful, Middlesbrough, 8 May to 16 August 2026

Images by
Ben Westoby @fineartdocumentation

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Ground Floor Right (end of part II)
2024-25
Oil and encaustic on steel
148.5 x 108 x 0.1cm

Hanging in Flat Volume (Oct-Nov 2025) next to work by Ben Westoby @bcosmow

Curated by Sarah Longworth-West @painting_longworth.west

#FlatVolume #aptgallery #lyndseygilmour #benwestoby

Documentation by @fineartdocumentation

Made with support from @graysschoolofartaberdeen @robertgordonuni @mckiemalcolm

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🚨LAST CHANCE to see FLAT VOLUME @aptstudiosgallery - it’s a brilliant painting exhibition curated by @painting_longworth.west

Closes today 9 Nov, 5pm 😮

Go see if your able to.

41 paintings in total and loads of amazing documentation by @fineartdocumentation but my phone is so old it keeps crashing when I try posting more than 1 photo 😖

Full info @painting_longworth.west

#flatvolume #aptgallery #londonexhibition #paintingexhibition #exhibitionlondon

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Beautiful install shot of Flat Volume curated by @painting_longworth.west and showing this week at @aptstudiosgallery

Showing alongside gorgeous pieces by @nicholas.hatfull, @__damien_meade__ and @painting_longworth.west

Photography by
Ben Westoby / Fine Art Documentation
@fineartdocumentation

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Flat Volume
Room 3 of the exhibition

🌀You can now see all 3 rooms of Flat Volume, documented. Come along on Thurs-Sun 12-5pm for the last week to view the exhibition.

A survey exhibition aimed at contextualising Longworth-West’s term ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*.

In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting.

This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes.

These include:
1. Placement of Parts: absolute idiosyncratic specificity of placement.
2. Object(ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures.
3. Relief - concave/convex: the melding boundaries of painting and sculpture.
4. Illusion of form or relief.

These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling.

Supported by Norwich University of the Arts

Photography 📷
Ben Westoby / Fine Art Documentation

#flatvolume

The accompanying publication - is available during the exhibition.
£20 Cash or £22 Card

*citation and artists’ handles in the comments below

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Flat Volume
Room 3 of the exhibition

🌀over the next couple days I’ll be posting the rest of the documentation of ‘Flat Volume’…room by room

A survey exhibition aimed at contextualising Longworth-West’s term ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*.

In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting.

This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes.

These include:
1. Placement of Parts: absolute idiosyncratic specificity of placement.
2. Object(ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures.
3. Relief - concave/convex: the melding boundaries of painting and sculpture.
4. Illusion of form or relief.

These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling.

Supported by Norwich University of the Arts

Photography 📷
Ben Westoby / Fine Art Documentation

#flatvolume

The accompanying publication - is available during the exhibition.
£20 Cash or £22 Card

*citation and artists’ handles in the comments below

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Flat Volume
Room 2 of the exhibition

🌀over the next few days I’ll be posting the documentation of ‘Flat Volume’…room by room

A survey exhibition aimed at contextualising Longworth-West’s term ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*.

In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting.

This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes.

These include:
1. Placement of Parts: absolute idiosyncratic specificity of placement.
2. Object(ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures.
3. Relief - concave/convex: the melding boundaries of painting and sculpture.
4. Illusion of form or relief.

These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling.

Supported by Norwich University of the Arts

Photography 📷
Ben Westoby / Fine Art Documentation

#flatvolume

The accompanying publication - is available during the exhibition.
£20 Cash or £22 Card

*citation and artists’ handles in the comments below

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Flat Volume
Room 1 of the exhibition

🌀over the next few days I’ll be posting the documentation of ‘Flat Volume’…room by room

A survey exhibition aimed at contextualising Longworth-West’s term ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*.

In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting.

This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes.

These include:
1. Placement of Parts: absolute idiosyncratic specificity of placement.
2. Object(ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures.
3. Relief - concave/convex: the melding boundaries of painting and sculpture.
4. Illusion of form or relief.

These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling.

Supported by Norwich University of the Arts

Photography 📷
Ben Westoby / Fine Art Documentation

#flatvolume

The accompanying publication - is available during the exhibition.
£20 Cash or £22 Card

*citation and artists’ handles in the comments below

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ART BASEL 🌞

Pippy Houldsworth Gallery at Art Basel

Judith Godwin Solo Presentation
Feature Sector | Booth D8

VIP Preview: 17 – 18 June 2025
Public Days: 19 – 22 June 2025

Highlighting works across Godwin's six-decade career, this is the late artist’s first solo presentation in continental Europe, following a solo exhibition with us at the gallery in 2024. Godwin has long been recognised as a pioneering figure in the landscape of American art. Her contribution to the New York avant-garde began in the 1950s when she became associated with the Abstract Expressionist movement, forging a unique visual language based on modernism and abstraction. Her legacy defies the challenges she faced as a result of both her sex and sexuality.

Godwin moved to New York in 1953 to study at the Arts Student League under Hans Hofmann, whose early influence can be seen in her dynamic approach to composition and colour. 'Duet with Hofmann' (1953), spiralling and daring, and the sun-drenched 'Parrot' from the same year, pay tribute to her tutelage under Hofmann, whose approach to ‘push and pull’ in painting invested Godwin’s painting with bold colour and spatial depth.

Painted in 1958, the year that catapulted Godwin to broad art world recognition, 'Series 7, No 9' is exemplary of the monochromatic influence of her friend Franz Kline’s black struts and girders, and her own interest in depth and opacity. Godwin’s bold areas of black brushwork project above layered washes of ultramarines and pinks, a faint light shining through the drips and hollows between forms. Other examples from this series can be found in the collections of Yale University Art Gallery, CT, and the Modern Art Museum of Fort Worth, TX.

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Judith Godwin, Parrot, 1953, oil on canvas, 92.7 x 71.4 cm, 36 ½ x 28 ⅛ in
Judith Godwin, Duet with Hofmann, 1953, oil on canvas, 116.8 x 87 cm, 46 x 34 ¼ in
Judith Godwin, Series 7, No. 9, 1958oil on canvas, 184.8 x 125.7 cm, 72 ¾ x 49 ½ in

Courtesy Pippy Houldsworth Gallery, London, and Berry Campbell Gallery, New York. © Judith Whitney Godwin Foundation for the Arts. Photography by Ben Westoby / Fine Art Documentation.

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Reflecting on my solo exhibition “Phase Transitions” at @inspectionpit.uk , so happy with how this turned out. Huge thank you to @katy_vetch for the fantastic opportunity to show in such a wonderful space and for all the support, to @phoebejaneahern for keeping me (nearly) on schedule and @alexvonhesse for writing my artist statement, collaborating on the work and just for being an absolute life saver.

Thankyou also so @fineartdocumentation for the beautiful installation photography.

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Our new website showcases the broad scope of our photographic work, documenting a range of two and three dimensional artworks, and varied of exhibition environments. Link in bio.

'Fine Art Documentation specialises in the photographic documentation of artworks and exhibitions. 

Working closely with galleries, arts institutions, artists and publishers, we produce archival-quality photographic material for our clients' records, delivering assets for websites, social media, publications, print, artwork reproductions and beyond.

Employing a creative approach with technical expertise, we use medium-format digital camera systems combined with on-site studio lighting to achieve full-resolution images with a high level of clarity, colour accuracy and formal consistency. We are fluent in post-production techniques, and our workflow uses Capture One, Adobe Creative Suite and other software to ensure precise colour management and image processing.

With over ten years of experience, we have developed longstanding client relationships and are highly experienced in working towards time-sensitive deadlines, enabling us to remain flexible and responsive whilst ensuring prompt delivery of projects.'

#contemporaryart #sculpture #installation #exhibition #artgallery #artist #artdocumentation #artphotography #london #fineartdocumentation #fineartdocumentationlondon #fineartdocumentationuk

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