║ Rip Hopkins ║

© Rip Hopkins, Procedure : filtration – separating big solids from liquid ; dish : beef stock, from the series Alchimistes aux Fourneaux, 2007

© Rip Hopkins, Procedure : stuffing – object in an object ; dish : stuffed pigeon, from the series Alchimistes aux Fourneaux, 2007

“This work is the result of my encounter with the chef Pierre Gagnaire and the chemist Hervé This around the texts of Nicolas de Bonnefons, Louis XIV’s valet.

With Hervé This, we transcribed in photography the phenomenas and procedures that create taste. Pierre Gagnaire then created a dish inspired by each of them, which I photographed on Zuber fabrics dating from the 18th century.

We played with nature, science and history in an appraisal of culinary art.”

artist statement

More of Rip’s work here

© Rip Hopkins, Procedure : stuffing – object in an object ; dish : stuffed pigeon, from the series Alchimistes aux Fourneaux, 2007© Rip Hopkins, Procedure : stuffing – object in an object ; dish : stuffed pigeon, from the series Alchimistes aux Fourneaux, 2007

║ Kate Potter ║

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© Kate Potter, Untitled #14, from the series Dad’s Things

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© Kate Potter, Untitled #5, from the series Dad’s Things

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© Kate Potter, Untitled #10, from the series Dad’s Things

To see more of Kate’s work click here

║ Philip Toledano ║

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© Philip Toledano, Untitled, from the series Days with my Father

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© Philip Toledano, Untitled, from the series Days with my Father

Toledano’s Days With My Father began as a web-based photo journal with texts, cataloging a poignant series of photographs of his father after his mother’s death with accompanying texts by the artist. The resulting work is an intensely powerful, heartwrenching and yet hopeful glimpse into his personal journey with his father, as they struggle to make sense of the latter’s gradual loss of memory as well as their remaining time together in the world.

I began shooting ‘Days with my father’ about a year ago, several months after my mother had died.
The purpose became clearer, as the project progressed.
It was to make a ‘still film’. An abstract assortment of linked recollections.
My father’s stories, and how he tells them. Aspects of personality that shine through the dim twilight of his fading memory. And new sides to him that have emerged, hidden for years in the strong shadow of parenthood.
I want to record all of this, before he goes. To document the love between us, and by reflection, the love we both had for my mother.
Since I’m an only child, this is best way I know of having a conversation about the death of my parents. I’m talking to myself, and I’m talking to the whole world.”

To see more of Philip’s work click here

║ Marysa Dowling ║

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© Marysa Dowling, Portrait 028, Ireland, from the series The Dowling Study, Parts 1-7, 2005-07

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© Marysa Dowling, Portrait 03, Stockport, UK, from the series The Dowling Study, Parts 1-7, 2005-07

“This collaborative family study spans four generations (involving all 32 blood related members of the family) and three countries, the UK, Ireland and the USA. It aims to memorialise the family through sets of images, as well as to explore the role photography has at every level to define, group, classify and individualise us. The series looks at our sense of self, migration, family history and memory, with particular regard to the relationship between photographer / subject / audience.

The images vary from personal portraits to pseudo-forensic and pseudo-anthropological documents. Each person is photographed in the same way, regardless of age or place. The Dowling Study investigates not only the nature of a family group but also my own sense of self, place, belonging and heritage.

Within such a group the use of photography helps to create emotional links, form a group identity (both fictional and real), highlight loss within the family unit, record genealogy, suspend familial events, and expose cultural, emotional and social parallels and contradictions.

Finally, the project highlights the ways in which individuals represent themselves within the family group, both privately and publicly, and perceive the self and others.”

To see more of Marysa’s work click here

║ Marjolaine Ryley ║

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© Marjolaine Ryley, Untitled, from the series Communion, 2003

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© Marjolaine Ryley, Untitled, from the series Communion, 2003

“In 2003 I attended Braziers International Artists workshop and created the series of images ‘Communion’ .

Having grown up living in squats and transitory communities as a child and hearing my parents talk about their time together (before separating) living in communes in the south of France, I was always fascinated by these places and the reasons people were drawn to them. Braziers Park is a living, breathing community of twenty-five people. During my time at Braziers I created a document of life in the commune. It quickly became apparent that these people, like my parents, were struggling to find equilibrium between their ideals and the reality of communal living. Yet despite the ‘cracks’ I found my time at braziers incredibly moving as it evoked a time in my childhood when my parents were determined to live a way of life that rejected our mainstream materialistic culture in favour of a more fulfilling existence.”

To see more of Marjolaine’s work click here

║ Millie Burton ║

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© Millie Burton, Mantlepiece, from the series Pictures from an Interior, 2004

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© Millie Burton, Dresser, from the series Pictures from an Interior, 2004

Pictures from an Interior (2004) is a photographic record and celebration of the house that my grandmother lived in from 1956 until 2008. She was a practical woman and did much of the work on the house herself, and had a knack for putting things together in beautiful and functional displays. But when her children and friends were clearing the house after her death, they found that many of the objects were flawed in some way – vases turned to hide a crack, pairs of glass candlesticks that didn’t match, rugs covering bare patches in carpets. The house has since been sold, and, though it once seemed so permanent, little seen in these photographs now remains.”

To see more of Millie’s work click here

║ Polly Braden ║

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© Polly Braden, Untitled, from the series Adventures in the Valley, 2004

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© Polly Braden, Untitled, from the series Adventures in the Valley, 2004

“A collaboration between Polly Braden & David Campany

The River Lea runs from the Thames in east London up to Hertfordshire. Once a busy commercial waterway, it is now a nature reserve and leisure area. From the planned site for the 2012 Olympic Games it passes industrial estates, sports centres, new build homes and council estates.

Working together, Braden & Campany move between observational documentary and experimental stagings. There are poetic snapshots and theatrical incidents, naturalistic portraits and semi-fictional enactments. Responding to the strange beauty they find the photographs reflect the place but also reflect upon the processes and conventions of documentary at the same time .

Escape from the city; the reinvention of social spaces; the attraction of water; the meeting of different cultures; the persistence of nature. The project weaves together its motifs, building a complex description of the past, present and future of this half-forgotten thread of land.”

To see more of Polly’s work click here

║ Peter Fraser ║

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© Peter Fraser, Untitled, from the series 12 Day Journay, 1984006

© Peter Fraser, Untitled, from the series 12 Day Journay, 1984

“I see photographs everywhere, like everyone else, nowadays; they come from the world to me, without my asking; they are only ‘images,’ their mode of appearance is heterogeneous…I realized that some provoked tiny jubilations, as if they referred to a stilled center, an erotic or lacerating value buried in myself (however harmless the subject matter may have appeared)…” So writes Roland Barthes, pointing out the way in which we have learned to see “photographically,” to frame, to snap, to make our memories into fragmented images to be recalled (or not) as though appearing in a mnemonic scrapbook. The accumulated mass of the world appears as a heterogeneous fabric of multi-colored threads, a tiny percentage of them glistening, glancing toward the eye of a beholder, provoking “tiny jubilations.” Fraser seeks these shudders, behaving as a convalescent drunken child charmed with the sparkle of even the most pedestrian things, unwilling to posit any hierarchy of value between, say, the hue of a lumpy red suitcase and the intricate scaffold-structure of a communications satellite. To borrow a term from Russian structuralism, Fraser is in the business of “making strange,” not because he is endowed with any secret transformative touch but, rather, because he sees strangeness itself as the most natural thing in the world.

Johanna Burton, New York, December 2003

To see more of Peter’s work click here

║ Ally Birch-Probyn & Anni Skilton ║

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© Ally Birch-Probyn & Anni Skilton, Untitled #19, from the series Partners in Grime

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© Ally Birch-Probyn & Anni Skilton, Untitled #21, from the series Partners in Grime

“We have been rummaging through skips for some time now and have established this lens based project from our findings. The contents of each interesting skip becomes the backdrop of our images. What we find in these skips also inspires us to create a character that interacts with the discarded objects. Our characters are individual to all the different skips we use. We are attempting to address important environmental and ecological issues through our images. By choosing this subject matter we illustrate exactly what people discard, often depicting our throw away mentality. Due to the items being, frequently, in good condition, we began to ask ourselves whether we should all think more about recycling and re-using rather than throwing away and filling up the world’s landfills. We don’t want to preach…it’s just a thought.”

To see more of Ally and Anni’s  work click here

║Tamany Baker ║

© Tamany Baker, Untitled, from the series Living with Wolfie, 2008

© Tamany Baker, Untitled, from the series Living with Wolfie, 2008


The series documents my response to the ‘presents’ that Wolfie, my beloved cat, brings into the home. At first, I experienced some kind of horror: these dead creatures waiting for me in different parts of my house. Then I looked at Wolfie and tried to understand the instincts which brought them there. It reminded me of the difficulty I have in understanding the behaviours of the opposite sex or of a different tribe. At the time, my ex-partner had been unfaithful and I saw some parallels in coming to terms with the difficult habits of the ‘other’, whilst also accepting their difference.
The ceremonial aspect of these photographs is similar to the Victorian practice of making a shrine from photographs of deceased loved ones, using flowers and locks of hair to preserve the memory of the living. With these images, I am instead making a photograph from a shrine, engaging with the changing patterns of nature to bring myself closer to the memory of death and of loss. It may also be a way of acknowledging certain destructive behaviours within myself (my own alien ‘other’), as I become Wolfie’s accomplice in playing with the dead animals.

Tamany Baker

To see more of Tamany’swork click here

║Tom Hunter ║

© Tom Hunter, Sex Assault, from the series Living in Hell and Other Stories, 2004

© Tom Hunter, Murder: Two Men Wanted, from the series Living in Hell and Other Stories, 2003

“Murder: Two Men Wanted is a photograph whose title is directly taken from a Hackney Gazette headline. Its composition is based on Piero di Cosimo’s ‘Satyr mourning over a Nymph’ which is part of the National Gallery collection. In Hunter’s work, a woman lies sprawled across the ground in an eerily lit park, (it was shot in public parkland in Hackney which is notorious for criminal activiity at night) while a male figure, his expression shocked and bewildered, crouches beside her head. At her feet sits an Alsatian dog. His posture is one of loyalty and resolution as if he were guarding over her corpse. The subject may be linked to Ovid’s ‘Metamorphoses’ (VII, 752-65) in which the death of Procris is depicted.

As Martin Herbert has written, “Bad news sells newspapers.” The Hackney Gazette, self-appointed mouthpiece of the East London borough where Tom Hunter lives and works, is not a free newspaper. As such it needs to gain the attention and money of its public, doing so by importing the standard tabloid formula of addicting its readership to a cocktail of horror and titillation: cue headlines like HALLOWEEN HORROR and LOVER SET ON FIRE IN BED…. The Gazette writers’ words must matter more than pictures, for a lack of photographic imagery will not stop this newspaper from running a front-page story. A curious mind will naturally tend to image the scene by itself, and such was the process that generated Hunter’s ongoing ‘Headlines’ series from the Gazette. These scenarios were isolated and turned into staged photographs, featuring friends and acquaintances and shot in Hackney.”

Source: Green on Red Gallery

To see more of Tom’s work click here

║Rob Ball ║

© Rob Ball, Untitled #3, from the series The Grange, 2006

© Rob Ball, Untitled #8, from the series The Grange, 2006


“In December 2006 the hospital in which I was born closed after 97 years of service. The site was bought by a property developer and will soon consist of over 800 new dwellings, in an effort to meet the governments target for 3 million new homes by the year 2020. The resultant large format photographs show the functional spaces as the last user left them, from the maternity block to the morgue. All the images are taken from inside the hospital in an effort to compound the claustrophobia I often feel in institutional spaces. The title is taken from the original name of the hospital when it started life as a convalescence home for children before the First World War.
Rob Ball

To see more of Rob’s work click here

║ Annabel Elgar ║

© Annabel Elgar, Torch, 2006

© Annabel Elgar, Legion, 2006

© Annabel Elgar, Prey, from the series Black Flag, 2004

“Annabel Elgar’s photographic works map out a borderland of fragile enclaves and lost directions. Staged encounters, with heightened foregrounds and a voyeur’s intimacy, are swiftly usurped by the notion that as fiction they are in fact false- their source remaining unclear. Details become covert signifiers, offering us narrative pointers to clue together what has happened. Peppered with cropped figures, fires and totemic symbols, we are made aware of ritual behaviour and the allusion towards cult and secrecy, and yet the locale is never clarified.”

To see more of Annabel’s work click here

║ Giles Revell ║

© Giles Revell, Eamonn McCabe, Portrait photographer, from the series Photofit


“All portrait photographers focus on the eyes – when you set up a shoot, you make sure that there is light in that part of the face. But actually, the hair can be just as important. You get to a point in your career when people know who you are yourself, so you start to have a shave before you go on a shoot. Does that make me vain?Eamonn McCabe

© Giles Revell, Duncan X, tattooist, from the series Photofit


“I am not that good on faces. I often don’t recognise people when they come into my shop – I will only remember their names when I see their tattoo.Duncan X

“There are no photos in circulation of Jacques Penry, the man who invented the Photofit, but from what he wrote in his books, you would guess that he might have looked a bit suspicious. (…)
Photofit is tactile: you can touch the individual parts with your own hands and move them about until things click into place – it’s like creating a puzzle. And it is immediate: there is no person standing between you and the final picture. We managed to track down a male and female kit from a Police Museum in Kent and invited a number of people to assemble their own Photofit self-portrait in Giles’ studio in Clerkenwell. The end result, we think, is curious. Each portrait tells a story: it speaks of the hang-ups, insecurities and vanities we all have about our own appearance. They hint at how deceptive our relationship with our self-image can be. Jacques Penry claimed that he could deduce a person’s character from their face in an instant. If nothing else, we hope that this project shows how the connection between persona and personality is a lot more complex than that.”
Giles Revell, Matt Willey & Philip Oltermann

This full project can be seen as a pdf here
More of Giles’ work can be seen here


║ Esther Teichmann ║

© Esther Teichmann, Diptych, from the series Viscosity, 2005

© Esther Teichmann, Untitled, from the series Inward Bound, 2006

© Esther Teichmann, Untitled, from the series Inward Bound, 2006


“In her large-scale photographic works and video pieces Esther Teichmann examines the relationship of the self to the maternal body and to the body of the lover. Desire and fear of loss are subtly and yet powerfully evoked in these explorations of the visceral and expressive properties of the human physique and skin. (…)
Teichmann’s work is autobiographical in that she chooses for her subjects the members of her immediate family. In her works their (often naked) bodies are almost close enough to touch, yet are held at a distance by the inherent aspects of the photographic medium. Like the mother’s skin, seen by the infant as fragmented surface, and like the lover’s skin too close to focus upon, so the image demands that the spectators negotiate their relationship to it.”
Carol Mavor

More of Esther’s work can be seen here

║ Carrie Levy ║

© Carrie Levy, Untitled, from the series Untitled, 2000

© Carrie Levy, Untitled, from the series Untitled, 2000

“On Carrie Levy’s sixteen birthday her father was sentenced to four years in prison. Lost in a new world of furtive whispers at school and emptiness at home she immersed herself in photography. Desolate New York suburban landscapes, a bare bed, her unkempt garden, all echo her loss documented in 51 Months, a visual diary of her father’s absence. Her father, now out of prison, continues to fuel her work: in her new series recognizing the restrictions involved in documenting her surroundings, Levy, now studying at London’s RCA, creates conceptual photographs loosely based on stories of her father’s time in prison: “the only distinguishable person in this work is my father.”
Art Review, vol. LVII, October 2005

To see more of Carrie’s work click here

║ E-J Major ║

© E-J Major, Postcard, from the series Love is…

© E-J Major, Postcard, from the series Love is…

© E-J Major, Postcard, from the series Love is…


“Love is… Three years ago, London-based artist E-J Major began asking strangers to divulge their thoughts on this most profound, yet indefinable subject. The answers, sent anonymously on postcards, reveal richly individual reflections on a universal emotion, both joyful and bitter, some weighty, others flippant. But what is love exactly, other than a much-abused word? The inadequacy of language is central to much of Major’s work, which often takes snippets of source materials—books, drawings, magazine articles, or in this case film stills from Last Tango in Paris—as the start point for her investigations.
The process—her engagement with the materials and where that takes her—is as important to her as the end result, and typically the projects take months or years to complete. For Love is…, she created a high-resolution screenshot of each second of Bernardo Bertolucci’s controversial 1972 classic, making a single postcard from each one. She then hand-delivered the cards to strangers’ letterboxes around London and the West Midlands, with her freepost address on the back, together with a message that asked recipients to return it with their thoughts, as part of “an enquiry into love”.
Simon Bainbridge

To read the full text click here

To see more of EJ’s work click here