a perpetual descent into the winter months as the foliage of the Buddleia davidii slowly withdraw over the season from the almost invisible fog-like surface of the polytunnel. The images look out from the garden, beyond the boundary and through the surface that clouds the view. The invasive, unwanted Buddleia davidii peers through the murk, forcing itself into the frame revealing the unobserved remarkable that surrounds us.


katie_perrett@yahoo.co.uk Pages 100-103, Kyle Bentley


This body of work derives from a process that conceptually started with a visual exploration of my own interactions/interventions with objects and spaces within my immediate environment.


Through reading writings on photographic theory such as Roland Barthes, Camera Lucida and Susan Sontag’s, On photography the work continued to evolve and began to visually explore the ideas that were suggested in these texts. This working process has lead up to the accumulation of a number of different ideas, both based in photographic theory and of my own observations and interventions that have individually been realised through either a single image, a piece of text or a short film.


The individual works themselves are there to be used as a starting point, a visual source for the viewer to contemplate the idea that is suggested to them through the use of a title.


kabentley@hotmail.co.uk


Pages 104-107, Julie Cahill Isolation that is necessary may not be wanted but isolation that is self-imposed can be a way of self- preservation. If you cannot see the world that you are excluded from you can almost believe that it is not there.


The photographer has endured a traumatic medical experience of a bone marrow transplant which involved physical isolation and later self-imposed isolation. The trauma was not just on my physical being but also on the psychological self. As a way of coping I withdrew from the world around me and tried to deal with the ordeal alone because it would cause the people she loved less pain. In a world that had become so uncertain I retreated to thr sanctuary of s church to be alone, safe and most importantly to relax and just be.


I began photographing spaces that held enormous significance from this time in hospital and the church. I want the images to represent the mindset, the psychological and the physical journey I have taken.


JulieACahill@Gmail.com www.juliecahillimages.com


Pages 108-111, Laura Michelle Power Mere Mortal


‘Mere Mortal’ refers to us as being nothing more than destined to die. The term is suggestive that we cannot comprehend anything more or understand why, when considering the meaning of existence. The subjects having no specific religious beliefs seem to have a common discomfort with death. Vague in their understanding of mortality, they are accepting but also dismissive and confusion lingers on that word: mortal.


The work explores this by focusing on the human condition, the way we cope with the fragility of life and how we often respond by being ignorant of it. Inspired and curious about living with an awareness of death, the constructed work allows the audience an intimate moment of shared sadness and uncertainty towards this ambiguous subject; and asks why this is something that we all possess but will not talk about.


Laura_Michelle@hotmail.co.uk


Pages 112-115, Rory Geraghty “Chiaroscuro” began as a photographic series referencing the Christian depictions of the ‘stations of the cross’ however as the collection matured it transcended its original incarnation becoming more secular - removed from the confines of esoteric religious dogma.


Etymologically Chiaroscuro can also be translated as clear and obscure and thus the series undercurrent of Christian themes takes on greater resonance. The clear being the transition from a static state through frenzied motion, whilst the obscure transfigures from incarceration, metamorphosing through suffering towards an ethereal spiritual entity, be that a refugees plight or a more corporal metaphor of a body struggling with disease. The figure’s face is deliberately shrouded throughout the series so that he becomes a motif... an everyman... a pilgrim walking his path.


info@rorygeraghty.com www.rorygeraghty.com


Pages 116-119, Paul Appleby


“Montage is a collision that gives rise to an idea” Sergei Eisenstein


“And then I did nothing” is a photographic poem. The use of language and the aesthetic construction of the verse are as equally as important to the work as its descriptive and communicative value. The Japanese Haiku, two single lines to articulate a meaning that is not described in the words themselves. This was my model for the structure of my work.


The poem is a consideration of the words of Jim Morrison and “The American Prayer”. Words that echo and crackle in the dust of an old twelve inch; “Have you been borne yet and are you alive”. An unanswerable


189


question but the wondering itself brings into focus our perception of this being. This is not just the ecstasy of sex or the agony of the slow impending death but the existence of the everyday. The plastic bottles, the stone statues, the supermarket deaths, the empty shops, the creatures in the sunlight, these all lead us, point us, to our own existence.


paul_appleby@yahoo.com paulappleby-photography.com


Pages 120-123, Claire Clifton Coles


Rook Di Goo takes a look into fairy tales, not as we saw them as children, but through adult eyes and with an adult’s level of understanding. Although there are hundreds of different fairy tales and many versions of each, we can see that they are all based on a few common themes and share similar morality and symbolism. Rook Di Goo chooses to look at these themes as a whole. We see a series of constructed images, which hint at ideas of loss, of innocence, Oedipal complexes, youth and beauty, oppression, puberty, death, sibling rivalry, and jealousy.


While each photograph could be a scene from a familiar tale, none is a depiction of a specific story; the images show an ambiguous all-encompassing fairy tale. On closer inspection we perceive the subtle meanings, which can be interpreted from them, revealing the disturbing undercurrents of our childhood fantasies.


ClaireCliftonColes@hotmail.co.uk


Pages 124-127, Emily Carr Prisoner Of Conscience


After 9/11 there was a noticeable feeling of worldwide fear and anger. One part of America's moves of retaliation or protection was to open a detention centre in Guantanamo Bay, Cuba. This became a place with a history of using both violent and sexual torture methods.


There were many contentious views and feelings regarding this prison. Protests against the prison took place all over the world on a weekly basis. In London protests were held outside the US Embassy, with many hundreds of people attending. But who were these protestors and what were their motives? Did they really believe in their statements, or did the protests become a social scene in themselves? Did they merely become a reliable place to feel comradeship and gain a sense of purpose?


This projects looks specifically at these people and questions their motives and their place within today's society.


dulcie1999@hotmail.com


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