Stephen McCoy's 'Proximity' Exhibition Opens in Bristol

A new exhibition titled 'Proximity' by photographer Stephen McCoy is now open at the Martin Parr Foundation in Bristol. This retrospective showcases nearly 50 years of McCoy's photographic work, focusing on the people and landscapes of Merseyside. The exhibition, running from October 2 to December 21, 2025, highlights the significance of local observations in his art.

Decades of Documenting Merseyside Life

Stephen McCoy, a British photographer based in Merseyside, has dedicated his career to capturing the essence of his local environment. His work spans various projects, all unified by a common theme of 'proximity' – finding profound subjects close to home. The exhibition at the Martin Parr Foundation brings these distinct series together for the first time, offering a comprehensive look at his artistic journey.

Martin Parr, the founder of the exhibition space, emphasized the power of local photography. "Over the years I’ve learnt that some of the best work—poignant and powerful—is made on the photographer’s own doorstep. Steve’s work is no exception and the exhibition’s title ‘Proximity’ is a key tenet of his work," Parr stated. He noted McCoy's consistent dedication over decades, despite his work being largely overlooked until now. The Foundation considers it a privilege to display his photographs.

Early Works: Housing Estates and Changing Landscapes

Among the earliest works featured in 'Proximity' is the series 'Housing Estates' (1979-1983). These photographs document the new housing developments in Ainsdale, a village that saw significant expansion. Initially, McCoy used black and white, high-contrast photography to highlight the angular, repetitive structures, playing with light and shadow to create striking compositions.

The 'Housing Estates' series later evolved into a color typology. McCoy photographed identical bungalows under uniform, flat lighting conditions. This approach allowed him to emphasize the unique ways residents customized their homes, through details like shutters and garden designs. These subtle personal touches contrasted with the uniformity of the architecture, revealing individual expression within mass-produced environments.

"Over the years I’ve learnt that some of the best work—poignant and powerful—is made on the photographer’s own doorstep." – Martin Parr

Documenting Demolition and Coastal Shifts

During the same period, McCoy also focused on industrial and domestic demolition sites in Liverpool and Preston. These images capture transient landscapes, areas that existed for a brief time before being redeveloped or left unused for many years. This focus on change and impermanence is a recurring theme in his work, showing how human activity constantly reshapes the environment.

McCoy's extensive series 'River to River' (1985-1990) further explores landscapes in flux. For this project, he traced the coastline from the River Mersey in the south to the River Ribble in the north. This monumental effort documented the ever-changing interface between land and sea, reflecting both natural processes and human impact on the shoreline.

His ongoing series, 'The Rimrose Valley' (2016-present), continues this exploration of local landscapes. It centers on a country park, formerly a council tip and pig farm, which faced the threat of a dual carriageway. McCoy's photographs highlight the park's increasing importance for wildlife and recreation, advocating for the preservation of green spaces against urban development.

Skelmersdale and Intimate Domestic Views

In 1983, Stephen McCoy served as a photographer in residence in Skelmersdale. He was commissioned to document the new town's residents and environment. Skelmersdale, designed to accommodate populations from North Merseyside, faced economic challenges in the 1970s. McCoy's photographs from this period show residents navigating their daily routines amidst neglected urban infrastructure, offering a poignant social commentary.

McCoy's artistic scope also includes deeply personal and domestic subjects. For his conceptual series 'Archaeology of a Carpet' (2003), he photographed the transparent cylinder of his vacuum cleaner. This unusual approach created an archaeological record of domestic activities, revealing the hidden traces of everyday life within a home.

Family Life and Personal Journeys

'Personal Space' (1980–1984) captures families in their homes and gardens. These images are often closely cropped and taken from unusual angles, providing a humorous and affectionate look at the unique quirks of family life. The series offers intimate glimpses into private moments, emphasizing the comfort and familiarity of domestic settings.

His ongoing series 'Every House My Mother Lived in' (2019-present) traces his own family's journey through nine different houses and flats. Each location is imbued with memories and experiences, creating a visual narrative of personal history. This series will be presented at the exhibition in a vitrine, alongside a film about his mother, adding another layer of personal context.

McCoy's Impact and Recognition

Stephen McCoy is a respected British photographer who has also worked as a lecturer and freelance photographer. He has undertaken commissions for various clients while continuing his long-term personal projects. His work has been widely exhibited internationally, including the group exhibition 'Home Sweet Home' at Rencontres d’Arles in 2019 and the Institut pour la Photographie, Lille.

The 'Proximity' exhibition was originally conceived by the Open Eye Gallery, Liverpool. There, it was curated by Max Gorbatskyi and shown from November 2024 to January 2025. This current showing at the Martin Parr Foundation brings McCoy's significant contributions to photography to a wider audience in Bristol.

The Martin Parr Foundation offers free entry to its exhibitions, making McCoy's extensive body of work accessible to all visitors. The 'Proximity' exhibition celebrates a lifetime of photographic dedication, demonstrating the powerful stories found in familiar surroundings.