I absolutely adore these Peter Mitchell 1970s colour photographs made from Hasselblad two and a quarter square negatives. There is something so …. well, British about them.
The wit, the humour (pigeons sitting outside the racing pigeon shop), the stiff upper lip, the carry on regardless, the working class pantomime of life and death – the public commission flats where people formed caring communities that were destroyed through redevelopment – the integrity of an existence that has largely come and gone pictured with warmth and empathy.
The people, growing up during the Second World War the privations of which lasted well into the 1950s, now during a period of change in the 1970s standing behind the fish ‘n chip counter wondering where their lives had gone and how they had got there, but still with that British sense of spirit and grit.
Peter Mitchell, “a chaser of a disappearing world” pictures these “goners” – buildings, people (and a way of life) near the end of existence soon to be demolished – in an almost painterly manner.
His use of colour, perspective and form is very fine. Witness, the flow of the photograph ‘Edna, George & Pat, H.E. Greenwood Butcher, Waterloo Road, Leeds, 1977’ (below) as, in the shot, the camera allows the eye to pan from one vanishing point at left to the other at right, with the patchwork of colours and panels of the building creating an almost Mondrian-like texture – blue to black to beige to white sign to pale blue to yellow to green to pale green, surmounted by the dark blue of the threatening sky highlighting the jagged form of the building. Superb.
My favourite photograph in the posting is The Chair, Priestly House Interior, Quarry Hill Flats, Leeds, 1978 (below). This photograph is from what I believe to be Mitchell’s strongest body of work on the demolition of the Quarry Hill Flats in Leeds. ‘One of those doomed deserts was Quarry Hill flats, irresistible both as a symbol of the fate of all architecture and of the great clock in the heavens signalling everybody’s life span’ (Peter Mitchell quoted on The Guardian website)
A drab, beige, wallpapered room with double aspect window, an art deco chair with mirror reflecting nothing, an electrical socket, a ceiling light sprouting malignant plant and trapped in the window panes, little birds fluttering against their capture, trapped forever inside an abandoned flat, this abandoned life.
Yes, there’s a sense of nostalgia and melancholy in these photographs but their restrained, formal, representation of life does much to ennoble the people and buildings contained within them which, through osmosis, ennobles the mind of the viewer.
As I myself sense the great clock in the heavens signalling my life span, the pleasure and comfort I get from feeling the spirit of Peter Mitchell’s photographs is immeasurable.
Dr Marcus Bunyan
Main Image:
Peter Mitchell (British, b. 1943)
Edna, George & Pat, H.E. Greenwood Butcher, Waterloo Road, Leeds, 1977
1977
C-print
© Peter Mitchell
Peter Mitchell (British, b. 1943)
The Chair, Priestly House Interior, Quarry Hill Flats, Leeds, 1978
1978
C-print
© Peter Mitchell
SEE THE FULL POSTING AT https://artblart.com/2025/06/13/exhibition-peter-mitchell-nothing-lasts-forever-at-the-photographers-gallery-london/
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