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Significant Colour

A curated international photography exhibition

April 25 – May 12, 2026 @ PH21 Gallery Barcelona                                 newsletter

I’m There I’m not
Our Street
Crimson Seam
Red Room Series II
On the Road
Summertime
The Golden Tide
Abundance
Folds
Magenta Sky
St. Chapelle
Concrete Meridian
Red Between Waters
Jacket, 2025
Lincoln, Continental, 2025
Classy Glass
The Body Electric
Fall Haze
Reflected Glory
Tower and Wires 1
Tower and Wires 2
Endless Summer
Summer Fields
In your tight embrace, I come undone (No. 5)
In your tight embrace, I come undone (No. 6)
In your tight embrace, I come undone (No. 7)
Cuba Colors
Storm
Entanglement
Settled
Bide
Collision Course
Hot Pursuit
at rest
sleepy port
softer port
Yellow Windows
Yellow Downspouts
Red Car/Yellow PVC
Colorful Ties
Red Quilt & Laundry Rack
The Party’s Over
Fruits
Shopping Basket
Brasserie Raymond
The Green Machine
Yellow House with Lamp in Window
Pause at museum
Waiting for Freud
Malleable Souls 1
doors #1
doors #3
. . .
ZigZag
Red Building
Yellow Taxi
Untitled
Dragon whisp
Last vaud
Sunrise
Sunset
Untitled
Circuits
Red Crash
Untitled
Untitled
Biker
Golden Girl
Emerald Dissolve
Ghosts
Behind the Red Curtain
Guatemalan Ochre
Robin’s Red Door
Built by Colour 2
Built by Colour 3
French Quarter Facade
One
Red Room Series I
Red Room Series III

Click on the thumbnail to view the image. Click on the image for a larger view and information.

 

There are two kinds of photographs with respect to the significance of their use of colours. On the one hand, ever since colour film technology became widely available, colour has become the default in most photographic practices. That is, some photographs are in colour not because their colours bear some special significance (compared, for instance, to their possible black and white counterparts) but simply because the available film or digital technology has long made colour the common method of capturing photographic images. We may think of these photographs as colour by default. On the other hand, colours are often central to the meaning of photographs for their emphatic, symbolic, psychological, social, compositional, etc. significance. These photographs would not work in black and white the same way, or they would not work at all. That they are in colour is not merely a technological given; rather, it is an integral, formative, and significant aspect of their photographic meaning. We may think of these photographs as colour by significance.

Curator's choice

Tobias Ulbrich: I’m There I’m not

Honourable mentions

Janelle Freiman: Our Street

Derek Ronald: Crimson Seam

Tommi Viitala: Red Room Series II

Exhibiting photographers

Brigitte B Burckhardt (Vevey, Switzerland), Hong-Yi Chang (Yunlin, Taiwan), Gina Cholick (Pasadena, CA, USA), Michael Corthell (Millis, MA, USA), Hadrien Dacunto (Saint-Père-Marc-en-Poulet, France), Dorie Dahlberg (Long Branch, NJ, USA), Margo Davis (Houston, TX, USA), Robert DenUyl (Park City, UT, USA), Judith Donath (Cambridge, MA, USA), Richard Eveleigh (Salisbury, UK), Christopher N. Ferreria (San Diego, CA, USA), Janelle Freiman (La Jolla, CA, USA), Susanna Hagström (Stockholm, Sweden), Kylo-Patrick Hart (Aledo, TX, USA), Denise Heinrich Lane (Sète, France), Don Kline (Baltimore, MD, USA), John Kosmer (Fly Creek, NY, USA), Roman Kozhukhov (Novi Sad, Serbia), Geoffrey Krader (Wheaton, IL, USA), Claudia La (Vienna, Austria), Zewen Lai (Glasgow, UK), Lou Liska (Guntramsdorf, Austria), Elio Lo Bascio (Trento, Italy), Andrea London (New York, NY, USA), Benson Margulies (Concord, MA, USA), Robert Morrissey (Portland, OR, USA), Fern L. Nesson (Cambridge, MA, USA), Dustin Nguyen (Fayetteville, AR, USA), Karl Pont (Koblach, Austria), John Potter (Ryan, IA, USA), Derek Ronald (Arlington, VA, USA), Karen Safer (Playa del Rey, CA, USA), Zsuzsanna Sárközi (Pázmánd, Hungary), Tobias Ulbrich (Berlin, Germany), Jonathan Varjabedian (Orlando, FL, USA), Tommi Viitala (Helsinki, Finland)

Please click on the names to see contact information (website or e-mail) where available.

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