New blood (part II)

Benjamin Freedman

Statement about the project: In November 2014 I began a two month residency in northern Iceland where I became interested in the countries unique topographic features. Its low mountains and fascinating geological specimens inspired this sci-fi photo book that is meant to playfully illustrate a fictional story about a lunar phenomenon taking place in a sleepy little town. As a medium that boasts power and authority, photography remains a complex tool that inherently elicits the truth while simultaneously hinting at the possibility of fiction. These images, constructed using rocks found from the surrounding landscape, are playfully rearranged and photographed within the context of a scientifically ambiguous narrative. Like images mined from forgotten archives, the photographs borrow reoccurring elements from space and forensic photography. Collectively, the work creates a mosaic that re-presents situations from a research project performed in a remote town. Weaving together photographs of possible lunar samples, scientific machinery and cosmic landscapes, the book forms an eclectic visual journal of a man and his relationship with the cosmos.

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© Benjamin Freedman, selected works from the project OFORT(Observation of Foreign Objects in a Remote town) More can be seen here.

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Jordanna Kalman

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© Jordanna Kalman, selected works from the project The Hole Sea. More can be seen here.

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Anna Snyder

Statement about the project: ‘Symbiosis’ .

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© Anna Synder, selected works from the projects 1000 Islands (first three photographs) and The Gatherer (last three photographs). More can be seen here.

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Mara Gajic

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© Mara Gajic, selected works from the different projects. More can be seen here.

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Rachelle Bussières

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© Rachelle Bussières, selected works from different years. All unique gelatin silver prints. More can be seen here.

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Imagine you’re a tree

'Platan', from the project 'Temporary Trees'. Light box – Oak wood, acrylic, lambda-trans 128,5 x 87 x 20 cm (h x w x d)
‘Platan’, from the project ‘Temporary Trees’. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
'Cherry Tree' from the project 'Temporary Trees'. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
‘Cherry Tree’ from the project ‘Temporary Trees’. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
Weeping WillowLight box – Oak wood, acrylic, lambda-trans 128,5 x 87 x 20 cm (h x w x d)
‘Weeping Willow’ from the project ‘Temporary Trees’. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
'Weeping Willow' from the project 'Temporary Trees'. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
‘Pollard Willow’ from the project ‘Temporary Trees’. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
'Weeping Willow' from the project 'Temporary Trees'. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
‘Oak Tree’ from the project ‘Temporary Trees’. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
'Weeping Willow' from the project 'Temporary Trees'. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).
‘Poplar’ from the project ‘Temporary Trees’. Light box – Oak wood, acrylic, lambda-trans, 128,5 x 87 x 20 cm (h x w x d).

Temporary Trees is a collaboration between Make a Forest (founded by Joanna van der Zanden and Anne van der Zwaag), Raw Color (design studio by Daniera ter Haar and Christoph Brach) and Maarten Kolk & Guus Kusters‘ studio.

This series was presented during Dutch Design Week in Eindhoven in 2011.

More about Temporary Trees and Raw Color here.

New blood (part I)

Richard Gosnold

Statement about the project: ‘Voices’ conveys a tale of traumatic events, questioning how the perception of reality, for a mentally ill person, is influenced by past experiences. Based on the theory that we invent reality to suit our emotional state, I have considered how photographs may be viewed, re-contextualized and reconstructed, to fit within a personal narrative. Photographs made during my youth act as a metaphor for the fragility of memories from adolescence, which continue to influence how we perceive reality in adulthood. Found images signify how events, witnessed outside our immediate sphere, find their way into our memories, as if they actually happened to us. These images, contrasted with photographs made recently, suggest that earlier life experiences influence our understanding of the world.

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© Richard Gosnold, selected works from the project Voices. More can be seen here.

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Benedetta Casagrande

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© Benedetta Casagrande, selected works from the project Wet Dream. More can be seen here.

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Samuel Kaye

Statement about the project: ‘Symbiosis’ is an exploration of the relationship between bacteria and the human body. Though invisible to the naked eye these microorganisms make up about 90% of the cells in our body. Bacteria carries out many vital takes without which we would find it much harder to function, from digesting food to protecting our skin. Every image is the result of allowing each subjects own bacteria to grow on, and chemically interact with, their portrait.

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© Samuel Kaye, selected works from the project Symbiosis. More can be seen here.

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Matt Glover

Statement: This body of work explores the space between maturity and immaturity. It is an ongoing documentation of the current situation of a group of teenagers/young adults living in the UK today.

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© Matt Glover, selected works from the project.

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Singto Gauvain

Statement: The Thai phrase for ‘I don’t understand’, is ไม่เข้าใจ (pronounced: mai kao jai). When fragmented into individual words, the phrase literally translates to ‘doesn’t go into heart.’ ‘Doesn’t Go Into Heart’ is a book of photographs compiled from an ever expanding archive by Singto Gauvain. The images range from everyday snapshots to meticulously staged homages. The arrangement of the photographs uses signs and symbols ambiguously. The consequence of Gauvain’s frustration in attempting to accurately communicate concepts has resulted in this body of work. This body of work bases itself on two conditions of contemporary photographic practice (As discussed by Charlotte Cotton and Bjarne Bare in Objectiv #10, ‘Post-Photography’): the culture of dissemination and the failure of information in the field..

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© Singto Gauvain, selected works from the project mai kao jai. More can be seen here.

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≡ The Hyères School of Photography ≡

My love for the Hyères Festival is known. I’ve written about it and have featured a great deal of the authors shortlisted each year. The judging panel has been responsible for issuing a statement about what they want to see in contemporary photography and it has been bold and exciting, for Hyères always awards an experimental attitude towards the medium itself, as well as valuing innovation and creativity. Amidst the past festival judges “we can randomly mention Urs Stahel (Fotomuseum Winterthur), Marloes Krijnen (FOAM, Amsterdam), Dennis Freedman (W, New York), Charlotte Cotton, Glenn O’Brien, Marta Gili (Jeu de Paume, Paris), Jörg Koch (032C, Berlin), James Reid (Wallpaper*, London), Frits Gierstberg (Nederlands Fotomuseum, Rotterdam), Kathy Ryan (New York Times, New York), David Campany (London), Joerg Colberg (Conscientious), Charles Fréger (photographer, France), Erik Kessels (KesselsKramer, Amsterdam), Brett Rogers (The Photographer’s Gallery, London), Karen Langley (Dazed, London), Winfried Heininger (Kodoji Press, Switzerland), Damien Poulain (Oodee, London), Jason Evans (photographer, United Kingdom), Mutsuko Ota (IMA, Tokyo), etc.

What follows is my selection of work from the 10 authors shortlisted for Hyères 2015.

I – Oezden Yorulmaz

5© Oezden Yorulmaz, Untitled, from the series Ed Meets Jack, 2013.

6© Oezden Yorulmaz, Untitled, from the series Ed Meets Jack, 2013.

excerpt from Hyères’ press release:

Oezden Yorulmaz is interested in how photographical images play an important aspect of self-definition within the western society he cohabits. He plays in his work with the borders and the limitations of photography’s try to represent reality. He often uses himself as the main protagonist and creates male performs that is acting a narrative or mental state within the space of images or locations.
In Ed Meets Jack he created a fictional story, told through a series of photographs, which resemble a sequence of film stills. By using props or costumes he is trying to create a persona or situation that is aiming to reproduce an authentic atmosphere that only exists within in the space of the image. The photograph acts as a springboard between his performance and the observer and is limited to each one own presumption and experience.

II – Filippo Patrese

patrese_filippo-3© Filippo Patrese, Settembre 1977, from the series Corrections, 2014.

patrese_filippo-1© Filippo Patrese, Febbraio 1983, from the series Corrections, 2014.

III – Thomas Rousset

hyeres_01_news© Thomas Rousset, Untitled.

1074720© Thomas Rousset, Untitled.

1074713© Thomas Rousset, Untitled.

IV – Jeannie Abert

1jeannieabert-champ-de-bataille© Jeannie Abert, RÉVOLUTIONS, 2011. Collages sur papier.

c2_624© Jeannie Abert, COVER. Collages sur papier, incrustations diverses et brou de noix.

4-x_800© Jeannie Abert, COMPILE POUR UN AMNESIQUE, 2015 (en cours).

Jeannie’s statement:

I take photography as my starting point as a database of experimental research which I see as a raw material that I then manipulate. I search in pre-existing iconographic banks and appropriate the images. Thumbing my nose at the screen, a paradigm of the contemporary view, I question the images by bringing them back to a materialstate. There are so many axes and interpenetrations which define a genetically hybrid operation – contact photography, scanned, printed, photocopied images, reproduced so much so as to lose their definition – material – grain – frame photography which can meet up with drawing – painting – textiles. My intention is to stimulate the regard by changing the points of view. I play with the production and diffusion processes of the image. I question the medium of photography by trying to build a “play area” which could open new visual preoccupations.

V – Sjoerd Knibbeler

sjoerd-knibbeler-003© Sjoerd Knibbeler, Current Study # 3, 2013.

sjoerd-knibbeler-018© Sjoerd Knibbeler, Skyline, videostill, 2013.

sjoerd-knibbeler-010© Sjoerd Knibbeler, FW-42, from the series The Paper Planes, 2014.

excerpt from press release @ Unseen Photo Fair Amsterdam:

Knibbeler is working independently again, on a quest to capture wind. He tries to make the impossible possible by simulating tornados, folding model airplanes and trying – literally – to capture air. The model airplanes, all of which are based on designs that were never airborne, provide a context insinuating the impossibility of his quest. But parallel to these experiments he created video work showing an aerobatics pilot practicing his flight patterns on ground. In this work the complexity of the matter becomes tangible and the research of the contemporary experience of nature suddenly reappears. In November, LhGWR will present Knibbeler’s first solo show.

VI – Sushant Chhabria

ILMtext-637x800© Sushant Chhabria.

ilm_exhbit-1000x730© Sushant Chhabria, installation view, 2015.

chhabria_sushant-1© Sushant Chhabria, Untitled, 2015.

ilm_13-584x800© Sushant Chhabria, Untitled, 2015.

VII – Wawrzyniec Kolbusz

12-833x1024© Wawrzyniec Kolbusz, Untitled, from the series Sacred Defense.
wawrzyniec_kolbusz_sacred-defense_14-834x1024© Wawrzyniec Kolbusz, Untitled, from the series Sacred Defense.

wawrzyniec_kolbusz_sacred-defense_07-1024x834© Wawrzyniec Kolbusz, Untitled, from the series Sacred Defense.

Installation-View-of-Sacred-Defense-by-Wawrzyniec-Kolbusz-Wroclaw-SEP-2014-f1-1024x683© Wawrzyniec Kolbusz, installation view from the series Sacred Defense.

excerpt from Kolbusz’s statement @ Format Festival:

Sacred Defence, embedded in the Iranian post-war reality of the Iraq-Iran war (1980– 1988), is a story of producing artificial war images and reconstructing historical events to create a group memory. It is questioning whether reconstructed evidence is still evidence. It not only traces the existing modes of construction of fake war narrations. It also creates new war-related simulacra in digitally amended satellite images of nuclear installations. Hence, testing further the notion and limits of artificial evidence.

Sacred Defence is a game, in which images make us believe we see the war. We are looking at illusions, however. We follow how the war simulacra of social and political importance are being created within different spaces. A cinema city, constructed only for the purpose of shooting war movies, is a self-referencing space, created not to be experienced itself, but to become an image of war. Museums mimic the wartime reality in the smallest detail; wax figures of particular martyrs allow a meeting with fallen heroes again; and plastic replicas of antipersonnel mines sold as souvenirs.

From a play between the evident and the non-evident, author leads us to the point where he creates new simulation. He amends satellite images of Iranian nuclear installations with mutually exclusive versions of air strike destruction. Buildings destroyed in some images stand intact in others – parallel versions of the same event are presented on a single satellite map. Author is producing a ‘proof’ of an event that never happened despite being discussed in media.

VIII – Polly Tootal

picture_054print30x24c© Polly Tootal, #20406, 2014.

cf013534r44x59insq© Polly Tootal, #43534, 2014.

bcf013839_1r© Polly Tootal, #43839, 2014.

excerpt from an essay by Matthew Parker about Tootal’s work:

Polly Tootal is a photographer of British landscapes, yet the landscapes she registers are not likely to be found in any popular chronicle of the land, rejecting as they do the obvious beauty or grandeur of things and instead existing in the spaces in-between, the ones that are passed through every day, so nameless as to be embedded deeply into our consciousness and then forgotten. Perhaps this is why then, despite their surface anonymity, they all seem so uncannily familiar to me.

(…)

It’s no surprise to discover the Bechers are an influence, but compared to their typological surveys, her project is loose, deceptively objective, varying from image to image. Not concerned with the repetition of specific elements. Not so narrow in its vision. Instead, with each unique image, there’s a subtle vein of drama, an eye open to the strange and the exotic, the mundane and the obscure. Not limiting herself to specialised projects or adhering to restrictive formal rules, she instead takes an interest in atmosphere, humour, light and tone, looking to craft a delicate mood or declare a truth about a place. The ultimate goal is of a complex story, a vast and wide-ranging index of the British landscape and a store of unrelated yet connected images.

Common elements hold the project together. The images often lie upon thresholds and boundaries, liminal zones, between urban and rural, leisure and industry, lived in and discarded. Polly is interested in “places where abandoned industry mixes with functioning architecture and development, spaces left awaiting completion or areas of recent renewal.” Whether suburban, urban or rural, the subjects have, for the most part, been seen from the road; discovered and observed from the inside of a car. This might be another reason for the strange familiarity the images possess, their sometimes-disturbing déjà vu. I think to myself, how many times have I passed this place? Unknowingly drinking it in and storing it inside. Warehouses, business parks, shopping centers, waste-ground, motor- ways, car parks: the non-places that quietly fill up our lives, the sites of transience. Maybe I’ve seen none of them, but I am certain that I know the Little Chef, this stretch of motorway, that patch of industry, this housing estate.

(…)

And what has been left outside? Well, people, of course. There are no people in these landscapes. There are no moving objects either. There are no bustling, vibrant markets. And there are no stunning vistas that haven’t been touched by the modern world. If there is woodland there is a motorway bridge towering behind it in monumental silence, if there is a valley there happens to be a cement factory, if there is a quarry there is a housing estate it seems to be at war with. But for all these things it’s the absence of people that I find most interesting. Despite these being landscapes I feel as if they should be there. I find myself yearning for them. But I admire the fact that they will not come. Human portraits are not needed. If you know how to look, these rigorously poetic landscapes tell a story enough.

IX – Evangelia Kranioti

695ff4d5c22e8242ba64d8ee85bfd28b© Evangelia KraniotiFrom Lagos to Rio – end of sea passage, 2010, from the series Exotica, Erotica, etc.

502d1520ef9b8689e48a48d7deb1f9ff© Evangelia Kranioti, Buddha of the main engine, 2012, from the series Exotica, Erotica, etc.

7e2f10d380416ee7b341cec930747b2b© Evangelia Kranioti, Desert on board, 2011, from the series Exotica, Erotica, etc.

excerpt from press release @ Centre d’Art Contemporain Genève:

At the heart of Evangelia Kranioti’s research are the notions of desire, wandering, and return to one’s origins. Inspired by the work of the Greek writer Nikos Kavvadias, Kranioti questions the male-female relationship through the fleeting loves of sailors in ports, terrae incognitae where the magic of wandering still operates.
The documentary essay Exotica, Erotica, etc. is the culmination of a long-term project undertaken over four years, during which she followed the crews of the Greek navy worldwide and spent months in the company of the women they frequent.
Through the stories of Sandy, former Chilean prostitute and those of these souls in perpetual homelessness, Kranioti poetically depicts the romantic imaginary of the sea, its tragic heroes and its forgotten loves.

X – David Magnusson

Purity-DM-028-560x700© David MagnussonJamie & David Clampitt, Shreveport, Louisiana, from the series Purita.

Purity-DM-005-560x700© David Magnusson, Will & Nicole Roosma, Tucson, Arizona, from the series Purita.

Purity-DM-027-560x700© David MagnussonJenna & Jeff Clark, Chandler, Arizona, from the series Purita.

excerpt from Jessica Valenti’s article Purity balls, Plan B and bad sex policy: inside America’s virginity obsession:

«The men and girls in the photos hold hands and embrace – the young women are in long white dresses, the men in suits or military regalia. If some of the girls in the pictures weren’t so young – Laila and Maya Sa up there are seven and five years old, respectively – the portraits could be mistaken for wedding or prom pictures. What they actually capture, though, are images of those who participate in purity balls – father-daughter dances featuring girls who pledge to remain virgins until marriage and fathers who promise to protect their daughters’ chastity.

The images from Swedish photographer David Magnusson’s new book, Purity, are beautiful, disturbing and tell a distinctly American story – a story wherein a girl’s virginity is held up as a moral ideal above all else, a story in which the most important characteristic of a young woman is whether or not she is sexually active. This narrative of good girls and bad girls, pure girls and dirty girls, is one that follows young women throughout their lives. Purity balls simply lay that dichotomy bare.

(…)

Magnusson says he hopes his pictures elicit empathy,not judgment: “As I learnt more, I understood that the fathers, like all parents, simply wanted to protect the ones that they love – in the best way they know how.”

I have no doubt that families who participate in purity balls are doing what they think is best for their children – but that doesn’t make them any less wrong. When we teach girls that their virginity makes them special and valuable, we’re sending the simultaneous message that without their virginity they are tainted and damaged.»

⁞ A selection of UK-based emerging photographers to watch (III) ⁞

magowens-1_1© Jill Quigley, Untitled, from the series Cottages of Quigley’s Point.

mcganns_1© Jill Quigley, Untitled, from the series Cottages of Quigley’s Point.

164715-8497154-L_SMITH_06© Oliver Smith, Untitled, from the series Looking for Ghosts.

164715-8497173-5_corrected_2© Oliver Smith, Untitled, from the series Looking for Ghosts.

neurotypical1© Tom Marsh, Untitled, from the series Neurotypicals, 2014.

neurotypical4© Tom Marsh, Untitled, from the series Neurotypicals, 2014.

02© Petra Kubisova, Her Voice, which I know so well.
Installation, archival photograph layered and printed on individual life-size transparent sheets, hanging from the ceiling, 2013.

18_hp1_v3© Shinwook Kim, Untitlted, from The Family Picture, 2014.
Digital Inkjet Print, 100x128cm.

18_hp3© Shinwook Kim, Untitlted, from The Family Picture, 2014.
Digital Inkjet Print, 100x128cm.

point_N_50-25-49_E-05-11-12_D_04-03-13_29-04-13 copy_600© William Arnold, Untitled, from the series Tin-can Firmament. Pinhole.

william-arnold-gorse-chemigram-fuji-fp100c_600© William Arnold, Untitled, from the series The Late Spring. Polaroid.

⁞ A selection of UK-based emerging photographers to watch (II) ⁞

centsainma_image_large_13_25_33_22-08-14© Daniel Silva, Untitled, from the series Retuna Nature.

centsainma_image_large_13_26_14_22-08-14© Daniel Silva, Untitled, from the series Retuna Nature.

L1001824© Liz Orton, Untitled, from the series Natural Ideas for the Human Mind.

L1003806© Liz Orton, Untitled, from the series Natural Ideas for the Human Mind.

c604b8_78fb05d02dc0005417320debf634f07f© Alexandra Lethbridge, Untitled, from the series Smoke and Mirrors, 2012.

c604b8_4de87cf53cfb9bd30b747636ff1dafc2© Alexandra Lethbridge, Untitled, from the series Smoke and Mirrors, 2012.

close-up-surface_0970© Blake Lewis, #21 – #26, … from below, November 2013.

Samples3© Sarah Tehan, Biological Portraits, June 2013.

WIP_good_wood© Peter Watkins, Untitled, from the series The Unforgetting, 2013/14.

surfacetension11© Peter Watkins, Untitled, from the series Surface Tension, 2013.

18_AM_RCASHOW14_(2)© Alix Marie, Orlando, installation, 2014.

18_belleestlabete© Alix Marie, La Belle Est La Bête, C-type print, 2013.

static.squarespace.com© Felicity Hammond, (left) Restore to Factory Settings, C-Type Print + (right) Monument to the Curiosity Zone ,Acrylic and glass wool. Installation view photo by Ben Westoby.

⁞ Identities defined by stereotipied ideas of nationality ⁞

Street Level Photoworks‘ upcoming exhibition is called Common Ground: New Documentary Photography from Scotland & Wales and is promoted as a show that brings together “diverse themes and ideas associated with distinctive national and cultural visual inspiration, this collective exhibition welds them together into a cohesive narrative, at times overlapping and continuously referencing and complementing each other“.

Following is my selection of images from some of the photographers showcased in this exhibition as well as other authors both documenting Scotland as it approaches the independence referendum and reflecting on the idea of british identity.

00189328© Kieran Dodds, from the series Land of Scots.

Scotland - Gretna - Seeing Ourselves© Colin McPherson, Welcome to Scotland, 2013, from the project A Fine Line – Exploring Scotland’s border with England.

Scotland - Gretna - Seeing Ourselves© Colin McPherson, Farmland, Hustle Bank, 2013, from the project A Fine Line – Exploring Scotland’s border with England.

IMG_81012-666x1000© James O Jenkins, from the series Thatcher (portraits taken at Margaret Thatcher’s funeral. 17th April 2013, London.

IMG_81251-670x1000© James O Jenkins, from the series Thatcher (portraits taken at Margaret Thatcher’s funeral. 17th April 2013, London.

Untitled-1 copy© Stephen McLaren, from the ongoing project Scotia Nova.

Untitled-2 copy© Stephen McLaren, from the ongoing project Scotia Nova.

1© Craig Easton, from The Scottish Referendum Project.

2© Craig Easton, from The Scottish Referendum Project.

The English Defence League© Ed Thompson, from the series England Till I Die.

The English Defence League© Ed Thompson, from the series England Till I Die.

٠ Some Graduates Speak Photography ٠

Every year around this time there’s a fuzz in the visual arts in the UK due to all the Graduate shows. Journalists, gallery owners, collectors, travel the country to meet new flesh. By this time, Source photographic review also does its own show, an online showcase of the photography graduates from all over the UK. It’s a great way to see the trends in the academic world  (in case you’re interested in that) but, more important, to find visual artists who clearly stand out for the simple reason that they have their own language: they speak photography. Here’s my own selection of a virtual tour in between the Glasgow School of Art, Futureproof, Peacock Visual Arts and Source:

bourartsba_image_large_11_10_08_14-05-13© Jonathan Pearson, Archive Barnes #5. Photography + drawing + embroidery

0x4001© Susie Tang, from the project What’s left is unsaid, 2011

iadtdunlba_image_large_13_17_09_10-05-13© John Jordan, US Air Force Boeing C-17A Globemaster III, from the series Shannon Stopover

On the 20th of March 2003, Ireland’s Government authorised the use of Shannon Airport by US Military and CIA aircraft for the war on Iraq. This policy has meant an abrogation of Ireland’s long-held policy of neutrality, against the wishes of its people. Since then 2.2 million armed troops and thousands of tonnes of weapons and munitions have passed through Shannon Airport. I have used existing photographs of Iraqi dead, military planes and troop carriers to create mosaic images that make a direct connection between the use of Shannon airport and the consequences for Iraq. As with Abu Ghraib, many of the images of victims were shot on camera phones by US troops as ‘war trophies’.

lrPaper studies III and V© Catherine Cameron, Works on Paper

9© Kezia Tan, from the series The In-between. Photography + collage + thread

kacollender_20130509_0025© Kristina Collender, from the series Sean-Bean-Nua

Sean-Bean-Nua is an exploration into contemporary Irish female identity. Using self-portraits, the face of the artist is stripped away and replaced with an intervention that interrogates and questions our supposed Irish identity. (…) Photo-montage, sewing, cutting, sticking and painting all become tools of expression for the artist, making the photographic image an object for physical manipulation and adjustment. The portraits result in an intrinsic visual language, which represent the artist’s own experiences, hopes, fantasies, memories and fears of being a woman living in Ireland today.

0x700© Wayne Daniel, Stellio 2012

londcollba_image_large_07_55_13_13-05-13© Silje Lovise Gjertsen, A (Self) Portrait of My Mother (left) + A (Self) Portrait of My Father (right), 2013. Silver gelatin fibre based prints

Pie_Town_03© James Ellis, Pie Town, New Mexico

stella© Stella Consonni, from the series Chemical Process

When I moved to London four years ago I met a group of friends. They loved to push the limits, to get high on disposable happiness and drunk on chemical love. They wanted to feel more, to be more, hungry for a beauty that they could not see with sober eyes.They became my family. Then once, one of them was found dead, on the same couch where other friends were partying. Cold as marble. -Chemical Process is a reflective piece that exposes the vulnerable self of these friends of mine, their beautiful yet horrific appearance and their love for the prohibited. It is a series of portraits and photograms made with their blood, saliva, mucus and tears.”

┐ Ksenia Burnasheva’s Singles └

original_single5This work was suggested to me by Rotem Rozental, the working bee at the SIP blog :) The following is a re-post of Ksenia Burnasheva’s project Singles.
theevening2011UfaRussia2011© Ksenia Burnasheva, from the project Singles, 2009 – ongoing

“I was born in an industrial city in the middle of the European part of Russia called Ufa where I was raised and spent most of my teenage years before moving to England six years ago. I moved from Ufa to Cambridge, where I studied foundation level art at the Cambridge School of Visual and Performing Art after which I then moved to London and began my bachelor’s degree in photography at the Camberwell College of Arts. In 2011, when I had graduated from Camberwell, I began working towards my masters in fine art photography at Central Saint Martins. At the moment I am finishing up my masters and looking towards defining my career in fine art photography.”

Bleach2010the-fish2012© Ksenia Burnasheva, from the project SinglesI, 2009 – ongoing

“The main focus of my work tends to investigate into the relationship between space and objects within that space. What I am interested in is the juxtaposition of objects in relation to each other and the space as a whole. In my on-going series Singles I depict mundane, everyday scenes of life that, upon first glance, seem familiar, but when photographed they become very still, which encourages the viewer to stop and look closer.

It is this clear absence within the image that enthralls the viewer and draws them deeper into the image. It does so in such a monumental way that it causes one to touch upon the mysterious atmosphere, leading the viewer to question the feeling of there being something else present. Scenes within Singles are an untouched documentation of reality that yet evokes the feeling of it almost being staged, the subtle tones seen in the photographs adds to that created illusion.

Working in between two countries (Russia and England) has provided two contrasting backgrounds for these images. However, each image still manages to tell its own story and remain one of a kind; they are scenes from everywhere and nowhere. Each photograph separates the scenes from their original context and creates a new perspective for them to be perceived, all the while maintaining an air of silence.”

More of Ksenia‘s work can be seen here

┐ Will Jennings └

© Will Jennings, Untitled, from the series Tumbling Blocks, 2011

“As an intuitive response to the sudden death of my mother last summer I walked down the Suffolk coast, reconsidering the landscape of my childhood through the eyes of an adult, mourner and artist.


Concrete cubes sporadically emerged along the route, sole man-made interjections in a landscape of permanent flux. As I walked through fog they offered perspective, their staccato rhythm implied passing time, their angular form suggested a grid and attempted rationalisation of chaotic, uncontrollable nature.


I read the cubes as monolithic stelae. Blank vessels into which I store memories, emotions and idea – vessels as fallible as both body and mind, also falling prey to the forces of nature and time.” Will‘s statement

more of Will’s work here

┐ Mary Stark – Searching for Celluloid └


Abandoned, discarded, unwanted film is woven into handmade artefacts and photographic prints are created in the darkroom from constructed negatives. Time becomes an integral element, with each print or object measuring a duration of film. This recent work explores the materiality of photography and film in the digital age and creates a dialogue between the still frame and the moving image.

Mary Stark is searching for celluloid. It’s an exploration that, paradoxically, began in the digital space.

“I was interested in working digitally with video,” says Stark, who recently completed an MA in Photography at MMU. “Then I realised that, of course, all this digital film has a physical ancestor. It’s like a piece of thread.”

The thread analogy is important. Stark’s BA, also at MMU (she graduated in 2006) was in Embroidery. She has combined both the material physicality of film and the action of weaving for her Cornerhouse Micro Commissions project, Searching For Celluloid. “The idea is to develop film as a material,” she explains, “to turn a whole feature film into a physical object.”

The interface between analogue and digital is providing increasingly intriguing creative possibilities, and particularly interesting in Stark’s case is the fluid relationship between the two – there is no sense of either/or, no digital/analogue divide.

“I’m using digital tools to help me design the patterns I’m creating with the celluloid,” says Stark. “I’m interested in the dialogue between stitch and film, both digital and analogue.”

It’s an interest that has also led Stark to explore a process of ‘weaving’ digital film footage together (see Vimeo video, above). A celluloid film is projected, captured digitally on video and then woven together using Final Cut Pro: “It’s quite experimental at this stage,” she says. source: digital innovation

more of Mary’s work here and her blog with all info about this project here

┐ Wojtek Sasiela └

© Wojtek Sasiela, Monster Tree, from the series Eden

© Wojtek Sasiela, Untitled, from the series Eden

© Wojtek Sasiela, Untitled, from the series Eden

© Wojtek Sasiela, Gorton, from the series Eden

more of his work here

┐ Edmund Clark └

© Edmund Clark, Inmate’s table, from the project Still Life Killing Time

© Edmund Clark, Stairwell, from the project Still Life Killing Time

© Edmund Clark, Shared Room, from the project Still Life Killing Time

© Edmund Clark, from the project Still Life Killing Time

“Edmund Clark’s Still Life: Killing Time is a quiet meditation on the slowness, the fabric and the accoutrements of prison life for elderly inmates. It was two years in the making.(…)

The only statement I can find directly from Clark, the photographer, is worth meditation.

What you can see in the pictures is to what extent they are engaged with their routine, and on top of their regime and what sort of engagement they have with time. One man, who wore a long grey beard, coped with the passage of time, as far as I could see, by disengaging with it completely. He spent most of his time sitting in his chair … He just sat and disappeared within himself. After about a year I could go and talk to him, and this man was clever, he’d been a captain in the merchant navy and had sailed around the world. I asked him once what was the best place he’d been to and he lifted his head and said, ‘Sao Paulo, I loved Brazil …’ And then suddenly this life came out, his life was all there, hidden away. The bulldog clock on the book cover belonged to him, it was one of his prized possessions.

Apparently, Clark created this body of work spurred by reports from the USA about mandatory sentencing under “Three Strikes Laws” and the consequent swelling of America’s prison population. Clark engaged with Britain’s aging prison population in direct response to demographic disasters in American penal policy.(…)”

excerpt of article by Pete Brook, in Prison Photography. continue reading here

More of Edmund’s work here

┐ Davide Monteleone – Northern Caucasus └

© David Monteleone, Daghestan, Russia, 2009. Ghimri, during a bull sacrifice

© David Monteleone, Republic of Ingushetia, 2010. Nazran, during a wedding

© David Monteleone, Republic of Chechnya, 2010. Old portrait of Sheik Mansur and Sheik Artzanov

“At first there was the Russian Empire, Saint Petersburg’s splendour, nobles’ dynasties set against commons far and distant, scattered on an unlimited country. Later on came communism’s turn, with its pyramidal hierarchy, its ideology imposed without any discussion for a “superior common good” that revealed itself utopian and elusive. Walls and curtains finally fell down, but renewal’s winds were broken off by the chill of something more indefinite and creeping. Something nobody talks about, but nobody can dispute. A dictatorship replaced by another, worst.

Therefore time passed over counts and masters, hierarchs and politicians, arms of the law and armed arms. And all the past reflects itself in people’s eyes. A population that becomes silent and fierce, strong and proud, persons for whom an endearment never last long, family’s ceremonial is reduced to the least, men and women live suspended in a time space different from that one of the rest of the world. Places where blood has flown too much, where too often it is forbidden to mourn one’s own dead, where screams become mute, and hiding turned into habit. Caucasus’ regions.

The Caucasus is a concentrate of stereotypes as well as surprises. For centuries it has been land of political, religious, military and expansionistic rivalry, cruel struggle between opposing States and also between allied states. Ever since the beginning of the 19th century this region has been part of the tsarist Russian Empire, later absorbed by the Soviet Bloc.

The 1991 radical transformations involving the entire Warsaw Pact coalition, and the storm caused by the collapse of the Soviet Union, got new and ancient disputes resurfaced, and in some cases worsen, and revived political and economic aims of supremacy in the area.

This project takes into account the countries in which disputes and struggles are not over yet or only apparently seem concluded, as intermittent fires under the political rhetoric of “normalization” and “pacification”. I began to investigate the daily life of people living in the Northern Caucasus, who are still divided between the claim for independence and the pride for their diversity, economic subordination, the historical-political and mental affiliation, condemned to an eternal geographic position in an oblivion, the elaboration of a new post-soviet identity.”

David’s statement

More of his work here

┐ Daniel Evans & Brendan Baker └

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

More of this work here

┐ Craig Ritchie └

© Craig Ritchie, from the project Malaficia

© Craig Ritchie, from the project Malaficia

© Craig Ritchie, from the project Malaficia

“In the Malaficia project, London based photographer Craig Ritchie delves into a Scottish area that was once a central location for witch trials and executions. This gruesome piece of history is not what first meets the eye when browsing through Ritchie’s images of East Neuk: the elegant houses, the forests, elderly people and other moments of daily lives. However, as Ritchie indicates in his website, “It took very little to be considered a witch; a ruined crop field, a petty argument over money, a spurned lover, or maybe the fisherman’s catch was poor.”

This indication may remind the viewer the unforeseeable storms that lie beneath the mundane surface. After all, “What better way to gain the upper hand over another person or family than to accuse them of witchcraft?” Ritchie, so it seems, uncovers how the Malaficia, the hammer of the witches, can be found in every corner of a geographical grid – whether imagined or painfully concrete. The first phase of the project is a photobook that can be viewed and purchased through Ritchie’s website. Currently, the work is also on view in a number of galleries. And here’s a little more about the motivation, future and aims of the project:

How did you find yourself haunted by witches?

The work emanated from an arts residency I undertook in The East Neuk of Fife, Scotland. The remit of the residency was to produce work that was connected to the East Neuk, an area of fishing villages situated between Edinburgh and St Andrews on the East Coast. Prior research of the area revealed that the place was at one point a hotspot of European witch trials and murders which seemed like an interesting subject matter to tackle, not least because the events occurred hundreds of years ago which presents obvious challenges.

What did you find when you arrived to East Neuk? How was the project received

The East Neuk is a bit of a hotbead for artists and in fact the Pittenweem Arts Festival, which this year celebrated its 30th edition, is one of the most popular in Scotland. The locals are therefore used to visitors from afar and in that regard my presence there raised few eyebrows. Intriguingly though, there appear to be a kind of collective anxiety about their witch past, with people almost reluctant to engage too deeply in discussions around the local witch history.

It’s more than just my imagination as well – there are no monuments to the damned (surprising in terms of the amount of murders we’re actually talking about); it’s difficult to locally find much in the way of literature, and unlike in most places with such a past there is no real tourism centered on the witches. I did find one local who offered witch tours a few times a year, but when I phoned him it transpired he lived in Crouch End in London!

In terms of the locals in the project, I simply asked people who I thought looked interesting, who either fitted my loose narratives or who I thought were interesting enough in their appearance to consider building narratives around. This emerged out of my day-to-day encounters with the place – I didn’t actively seek out locals as such.”

Excerpt of an interview by Rotem Rozental. Continue reading here

More of Craig’s work here

┐ Alison Stolwood └

© Alison Stolwood, Dark Green Fritillary on Wildlife Attracting Mix – installation shot 2011

© Alison Stolwood, Painted Lady (with sponge & with Fruit) – installation shot, 2011

© Alison Stolwood, Light Trap [Florescent]

More of Alison’s work here

┐ Minna Pöllänen └

© Minna Pöllänen, Hiltop, from the project Attempts, 2010

© Minna Pöllänen, Water, from the project Attempts, 2011

© Minna Pöllänen, Ice, from the project Attempts, 2010

“Made on an undeveloped 0.75-hectare piece of family land, Attempts maps out a survey into the notion of landownership. Through collecting, containing and marking different pieces of the landscape the project explores the various geographical and topographical elements found within the lot. The apparently futile constructions depicted in the photographs aim to visualise and question the often illogical commodification of nature and the ownership of something that exists in a constant state of flux.”

Minna’s statement

More of her work here