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Erik Madigan Heck’s Highlights from Old Future

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Approaching photography with the same eye as high art, Erik Madigan Heck captures the essence of painting through the lens of his camera. Heck has brought his powerful, vibrant images to the pages of numerous publications, including Vanity Fair, W, The New York Times Magazine and Harper’s Bazaar, and has created projects for such brands as BMW, Levi’s and Sotheby’s Diamonds.

Click ahead to see Heck’s personal highlights from the show.

Erik Madigan Heck’s Highlights from Old Future

  • Erik Madigan Heck, Richmond Park, Chromogenic Print, 27 by 18 in.
    I love the apocalyptic looking sky and the way the light is hitting the ground, which to me is light that can only happen in London. Originally shot for Harper’s Bazaar UK and taken in Richmond Park with dress by Erdem.


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  • Erik Madigan Heck, The Red Socks, Chromogenic Print, 14.04 by 18 in.
    I love the playfulness of this image, and the focus all going to the red socks. It’s an unusual shape as well with the lines of the wall behind her. This was originally published in Muse Magazine and the model is Kirsten Owen.


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  • Erik Madigan Heck, Valentino, Chromogenic Print, 45 by 30 in.
    This might be my favourite picture I’ve taken in the last five years. It’s the perfect combination of my landscape and fashion work colliding into one space, where the clothing merges into the surrounding flowers, and the space is totally flattened by the color treatment. This was taken for Harper’s Bazaar UK, shot in the Botanical Gardens, Bronx. Cape by Valentino.


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  • Erik Madigan Heck, Guinevere, Chromogenic Print, 22.75 by 30 in.
    Originally published in Muse magazine, this is a portrait of my good friend and long-time muse: Guinevere Van Seenus. This is one of my favourite fashion pictures to date. I love the simplicity and the relationship of red, blue, white and black. It becomes an abstraction, even though we still know what it is.


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  • Erik Madigan Heck, Dries Van Noten, Chromogenic Print, 45 by 30 in.
    I love how quiet this image is, and how subtle the colours are. This is definitely one of my favourite images in the exhibition. It was originally photographed for Dries Van Noten and published in Nomenus Quarterly.


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  • Erik Madigan Heck, Audrey in McQueen, Chromogenic Print, 22.24 by 30 in.
    This image reminds me of studying early photography, the Impressionist work of Steichen, which I loved as a kid, but mixed with my favorite colour combination of red and blue. It was taken for Harper’s Bazaar UK and the outfit worn by model Audrey Marnay is by Alexander McQueen.


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  • Erik Madigan Heck, The Blue Hat, Chromogenic Print, 40 by 30 in.
    This photograph became the staple image that would define how my fashion work would develop into a very classical painterly style. Prior to this image I was photographing primarily in black and white. It was originally photographed for a Rodarte special, published in Nomenus Quarterly.


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  • Erik Madigan Heck, Audrey in Blue, Chromogenic Print, 53.86 by 30 in.
    The model Audrey Marnay’s gesture and movement is really beautiful in this shot, and I love how the dress again becomes part of the landscape, with the shades and shapes of the trees looking just like the dress. This was taken for Harper’s Bazaar UK, shot in Scotland and outfit is by Roberto Cavalli.


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  • Erik Madigan Heck, Erdem, Chromogenic Print, 22.498 by 30 in.
    This was originally published in New York magazine – the clothing is by Erdem and headpiece by Tomi Kono, the Japanese hair sculptor. This is taken from Without a Face, which is an ongoing series of fashion portraits where we never see the model’s face.



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  • Erik Madigan Heck, The Absorbed Tradition, Chromogenic Print, 22.498 by 30 in.
    Originally published in New York magazine with clothing by Etro, this is also part of the Without a Face series which started as a personal project that then became a two part series published in the NY Magazine.


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  • Erik Madigan Heck, A Return to Giverny, Chromogenic Print, 45 by 30 in.
    This is from a series called A Return to Giverny which is very personal to me, as it was based on my mother’s paintings that were hung in my bedroom as a kid, and also her bringing me to see Monet’s paintings as a child.


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  • Erik Madigan Heck, Giambattista Valli, Chromogenic Print, 20 by 30 in.
    This was photographed backstage at a Giambattista Valli fitting in Paris. It began as more of a documentary moment, and then when I applied my colour later I began to darken down the surroundings to really emphasize the yellow in the dress to give it a heavenly glow, like a flower being hit by the sun.


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