The first thing to say is that this is a massive exhibition. There was a lot to take in and a wide spectrum of work. This exhibition really showed how the digital era has made all things possible; there really are no limits, expect perhaps in personal taste.
I do feel that the boundaries between photography and digital art are somewhat blurred, at Saatchi at least. Some of the works here were to me really digital art, or mixed media, rather than photography,
Mariah Robertson's MR1, MR2 & MR3 for example. John Stezaker's collages were for the most part put together cleverly but is it really photography? He basically stuck postcards on old photos. It is interesting work, but he hasn't actually taken any photos in the whole collection.
Katy Grannan's portraits were large prints displayed on every wall in Gallery One. As they were all shot in a similar way, in bright sunlight against white walls, yet each of the subjects very individual, the whole collection was quite striking. The emphasis was very much on individuality and the subjects certainly appeared unique characters. They aren't flattering shots, although you do get a sense that Grannan has captured the personality of the subject.
Matthew Day Jackson's The Lower 48 at first glance appeared to a bit of a mish mash of photos of rocks. Look closely though, and you can see a face in each one. I must admit that standing close to this display I didn't notice the faces in the gallery. It was later on when looking through the book that I suddenly saw what these images were about. So a lesson learnt, look for the point of an image or collection.
The largest exhibits were from Mat Collishaw and they certainly warranted a wall each. These ceramic mosaics were impressive close up and appreciated from afar. You could say that you need to take a few steps back to appreciate the whole exhibition, as there is so much work on display and such diversity.
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