John Rogers


Location: London / South Wales

Durbin Lewis Ltd acts as a fictive shop/brand/dealership. While not oscillating around a singular creative personal narrative, it presents art objects under a naming strategy more akin to the distribution systems through which these objects are to be consumed. Working with photographic sculpture, which heavily utilises furniture and artifacts from previous centuries, the work negotiates non-tangible space as the duality between image as object and the haptic encounter between objects within photographic space. Through various photographic processes there is a conscientious desire for the glitch, error or filter effect as demonstrated by the proliferation of services such as Instagram. This is manifested in the hybrid workflow of analogue and digital methods where the ‘effect’ in digital terms is generated through purposeful analogue error; i.e. cross process, bleach bypass, redscale, expired film, non-camera film. Visual glut is used to oversaturate and overfill images to a point where the physical colour rendition of the image fractures and derails the surface of the content. This approach, being overt and congested, is used in conjunction with the aesthetic of objects and materials that span a wide array of appreciative values yet utilise our seemingly universal ability to sense when objects are designated ‘old’ through dissociation to the ‘new’.

It is mahogany of the late nineteenth century, presently used for the ponderous heftiness of the aesthetic especially symptomatic of the middle class societies of the Victorian era and their values, that has been subsequently bequeathed to Britons of today. At times an object may carry a dual material value of both, production and worth. This phenomenon may become indicative of societal values of the time in which the object was produced, as well as the times that may follow. The capacity of objects to fulfill the desire and sensibilities of the people who produced and consumed them at the time of the objects’ inception further evolves and changes as these artifacts are separated from their contemporaries and original contexts - when they are broken away from the time of their origin and seen through the eyes of the bequeathed.



2013 – 5: Royal College of Art, [MA Sculpture]

2010 – 3: Goldsmiths, University of London, [BA Fine Art & History of Art]

2009 - 10: Glamorgan University, [Foundation]

Exhibitions (selected):


‘Royal Photographic Society – International Print Exhibition 157’

Berkeley Gallery, Greenwich Heritage Centre, London: July 31st – Aug 28th

Aberystwyth Arts Centre, Wales; Sep 6th – Nov 8th

Banbury Museum & Art Gallery, Oxford: Nov 22nd – Jan 10th

Royal Albert Hall, London: Jan 16th – Feb 15th 2015

Shire Hall Gallery, Stafford: Mar 14th – May 10th 2015

Belfast Photo Festival, Waterfront Hall, Belfast: Jun 4th - 30th 2015


'Brighton Photo Fringe Open14 Shortlist’

The Regency Townhouse, Brighton: Oct 4th – Nov 2nd

‘A Significant Other’

Hammersmith and Fulham Arts Festival, Hammersmith Town Hall: June 8th – 15th (curated by Jack Jones)

‘Photogram Open’

Urmson-Burnett Gallery and Silverprint, Salisbury and London: Feb 18th – March 15th


‘Wells Art Contemporary’

Wells and Mendip Museum, Wells, Somerset: October 10th – 19th (selected by Richard Wentworth CBE, Bruce Mclean, Roy Ackerman CBE and Dan Hays)


Schwartz Gallery, London: July 17th – August 3rd (curated by Ismail Erbil and Patrick Michalopoulos)

‘Figure 3’

Red Bull Studios, London: March 28th

‘Ornamental Status III’

5th Base Gallery, London: March 7th – 13th


‘Gold in the Crucible’

Arch 402 Gallery, London: December 10th – 12th (Curated by Hanna Laura Kaljo)


alternative space, London: July 12th (Curated by Hanna Laura Kaljo)


Press Play House, London: June 13th



The Rag Factory, London: May 26th – 28th