Battersea Power Station, Control Room A, Large
Battersea Power Station, Control Room A is a limited edition giclee print by artist Gina Soden.
From a very small edition of 10, printed on 325gsm Hahnemuhle Fine Art Baryta paper with a straight cut edge, the piece comes with a Certificate of Authenticity.
Size (cm): 74 x 109
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message us at the bottom right of this page.
This artwork has a 0% finance option for UK customers
At Enter Gallery we make art accessible to everyone. We offer interest free* finance for our UK customers, for almost all the artworks we sell. Spread the cost of the art you love, over 10 or 20 months (see the example above, for this artwork).
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Specifications
Medium: Giclee, Print
Edition Type: Limited Edition
Edition Size: 10
Size (cm): 74 x 109
Image Size (cm): 70 x 105
SKU: EG04469
Framing
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Glazing all our framing orders are shipped with glass. We take great care with packaging to protect your artwork.
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Shipping
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Despatch Times
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Unframed Items
Marked ‘Express Despatch’ above – 2 to 3 days
Regular Despatch unframed items – 2 to 3 weeks
Framed Artwork
Marked ‘Express Despatch’ above – 2 to 10 days
Regular Despatch framed artwork – 2 to 6 weeks
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To lessen the impact of these charges we are currently offering 10% Cashback for all orders over £200 shipped within the EU (cashback excludes any shipping costs). Your cashback will be refunded shortly after you order (unfortunately we are unable to apply the discount before ordering). You will also receive an email confirming the refund.
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About the artist
At the heart of Gina Soden’s photography is a preoccupation with abandoned structures and locations. Based in London, she travels widely to undisclosed sites throughout Europe and explores the boundaries of beauty, decay, nostalgia and neglect. The genesis of each piece is often the unique architectural character of each location, heightened by their painfully slow transformation after years of abandonment.
Rather than taking a documentary approach, Soden breathes a sense of life into the scenes, hinting at narrative with studied compositions. Characteristically each image has a distinctly painterly aesthetic, side stepping the tendency that photography has for observational and distanced looking.
Soden’s approach is lyrical and directs the viewer to explore the concepts of time and memory. The compositions feature derelict asylums, long since closed schools, ex-military compounds and famous city power stations in various stages of decay. The results are striking and poignant, at once both edgy in their contemporary aesthetic and nostalgic in their ruinous beauty.
The work is underscored by the potential controversy of gaining unlicensed access to the out of bounds areas. Every image is a product of a journey, referring both to the physical demands of gaining entry and to the passing of time which is evident in the abandoned locations. Like the Romantic poets before her, Soden offers room to reflect on more romantic notions of beauty and a sense of calmness despite collapse and structural devastation.