What we are looking at in Richard Heeps work, whether it’s a book, a dewy blade of grass or a burlesque beauty, is vivid and palpable, while the background retreats into a soft mutability of light and form. The moment is everything; the surroundings are just an explanation. There is a sense of timelessness, or suspended time. The characters that feature in the burlesque series become distanced by the lens yet capture all the details to suspend an instant. The other elements featured in Heeps’ work however become pulled into the natural world, while the uncanny scrutiny afforded to a blade of grass makes an object out of it. It starts us thinking about the ambiguity of those codes, and to what uses that ambiguity can be put, especially in image-driven discourses like advertising. But the vital energy of the work remains in the thoughtful loveliness of the overlooked, or sometimes far to obvious! Things and places exalted from the prosaic into a photographic space between cool regard and evocative subtlety and concentrated eye-popping entertainment. Richard Heeps came to prominence at a relatively young age with an exhibition at the Photographer’s Gallery in 1989. Since then, he has shown in a multitude of solo and group exhibitions, and has executed commissions for the Year of the Artist project and the Wicken Fen Natural Reserve.