Richard Ansett

Chris & David

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Steve & David

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Andrew & Peter

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Tamar & Gabrielle

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Andrew & Dorian

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Peter & Paul

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Michael & Juergen

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Ron & Roger

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Anja & Anne

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Saul & Jonathan

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Jessamy & Janet

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Kieran & Patrick

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Stacey & Cherie

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Nick & Sam

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Wendy & Liz

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

David & Anthony

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Tracey & Milly

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude

Alec & Ian UK

RON & ROGER

In 2001 the London Partnership Register was introduced by the Greater London Authority that acknowledged and celebrated the relationships of all couples regardless of sexual orientation. This scheme and the exposure of the brave couples that came forward, contributed to the huge change in public opinion which eventually led 4 years later to the Civil Partnerships Act in the British Parliament giving couples of the same gender equality in law and finally the ‘Marriage (Same Sex Couples) Act 2013’.

In 2001, Richard Ansett was granted unique access to the first couples that registered who were asked to participate in a photographic project to document their lives as a historic archive.

Inspired by the theory by Erwin Panofsky that the ‘Arnolfini Portrait’ by Jan Van Eyke was the documentation of an illicit betrothal, the photographs echo the ‘camera obscura’ composition espoused by Hockney/Falco. The couples stand as if at the alter within their own living spaces surrounded by the personal objects mirroring the painting’s significance centuries after its creation; offering contemporary clues of how we live to a future audience.

Originally published in the Observer Magazine,  nominated for the Citibank Prize and exhibited at the Candid Arts Trust; it was then exhibited at the Tate Modern turbine hall in 2002. Acquired by the London School of Economics Hall Carpenter Archive and  selected for the influential John Kobal Awards 2002 at the National Portrait Gallery, London.

“Created in the shadow of the infamous section 28 which was not repealed until 2003, majority prejudice of homosexual behavior was challenged in these portraits in a new way by the un-extraordinary expression of loving relationships illustrated as equal to the heterosexual. It is a subtle change to previously more confrontational messages in the fight for equality; it said ‘we are the same as you; our lives are as complex and as mundane’. This work was always intended as an historical document and its inclusion in the Hall Carpenter Archive of the LSE was very significant to me.” – Richard Ansett

In 2010 ‘Couple with Delft Tea Set and Queen Victoria’ showed at Art of Photography, San Diego, recognising the protests against legislation to ban same sex unions in the state of California, which coincided with the 10th anniversary of the original project and inspired a new energy recognising the project as campaigning document.

In 2014 the series won 1st prize at the Moscow International Foto Awards exhibiting in Moscow, flouting the strict anti-gay propaganda laws and the images from the series have since published in Turkey & China.

“Inherent In his work is the use of historical allegory and his images make an exceptionally powerful archive of modern lives shaped by 21st century human rights.”Caroline Smith, Art Review/Attitude