Darren Almond is an artist whose invention, imagination and technical expertise brought him a nomination for the Turner prize in 2005.

He is about to exhibit photography with a difference - the pictures in his new exhibition, Moons of the Iapetus Ocean, that opens on January 18 at White Cube in Shoreditch, London, were all taken at night.

Darren's astonishing moonlit photography captures eerie night scenes around Britain. Some look like they could have been taken on a misty day, others reveal more about the landscape than we notice in the daylight, while some are simply otherworldly.

We have a gallery of 20 of the wonderful pictures to the left, from a scene that featured in paintings by John Constable to the beacon of a lighthouse, the results are never less than beguiling.

Almond’s work often takes him to remote parts of the globe, following conceptual threads that encompass geography, politics, history and his own personal biography. This exhibition will include two distinct bodies of work: Fullmoon photographs that incorporate new images and key earlier images from around the British Isles and new large-scale photographs taken in Tibet.

Almond has been making his Fullmoon photographs since 1998, when a chance encounter led him to develop the idea of night-time photography using the iridescence of moonlight with an extremely lengthy exposure time. The result is an ongoing series of landscape photographs that are bathed in an eerie brightness, seemingly, and rather alarmingly, turning night into day.

In Almond’s images, waterfalls and gushing lakes are transformed into pools of static steam (Fullmoon@High Force) and a pounding sea is calmed into a thick, solid fog (Fullmoon@Neban Point). In others, such as Fullmoon@Wester Ross, Almond presents us with the mossy, ferny landscapes of bygone English folklore. Always unpopulated, his landscapes suggest the possibility of another existence, a reality without the seething masses of humanity, which can only appear in the dead of night.

In this exhibition, Almond intentionally points to his interest in historical geography – to the sea that existed between England and Scotland between 400-600 million years ago. Examining this landscape, as well as other fringes such as the remote coasts of Ireland and southern England, he reminds us of the temporality of current geography as well as our own individual isolation and insignificance within the larger topographical scheme of things.

In the upstairs gallery at White Cube, Almond will present three large-scale photographs from his new series entitled ‘Infinite Betweens’. These works were taken in Tibet, where traditional prayer flags are hung in trails across the mountainous ridges as a way to make offerings of thanks and prayers. Piles upon piles of these flags accumulate and become scattered over one of the highest and most exposed landscapes on earth. Captured in Almond’s photographs they form gorgeous, multicoloured abstract compositions. As with the Fullmoon photographs, Almond shot the ‘Infinite Betweens’ using moonlight capturing movement in the image.

Darren Almond has exhibited internationally. Recent solo exhibitions include Ujazdowski Castle, Warsaw (2007), SITE Santa Fe (2007), Museum Folkwang, Essen (2006); K21, Düsseldorf (2005), Lentos Museum of Modern Art (2005), Herzliya Museum of Art (2003), Tate Britain, London (2001), Kunsthalle Zürich (2001), De Appel Centre, Amsterdam (2001) and the Renaissance Society, Chicago (1999).

Darren Almond's White Cube exhibition, Moons of the Iapetus Ocean, runs from January 18.

A fully illustrated book, entitled Moons of the Iapetus Ocean, with an essay by Brian Dillon, will be published to accompany the exhibition.

Another Darren Almond exhibition, Fire under Snow, takes place at the Parasol Unit in Islington from January 18 - March 30.

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