Pages 128-131, Miles Bavin
What am I going to do after university? How am I going to prepare myself for the realities of the real world? What am I going to be? These are questions that under graduates may not wish to ask themselves but in this body of work they are questions that the depicted students are expected to answer.
The students in the work are all related through the photographer and all face graduation this summer. They were interviewed with questions about any fears they might have about life without the safety net of an education system, due to the personal anxieties of the photographer.
Being photographed as they considered and responded to these questions is designed to illustrate depth to the character through a more genuine portrait.
miles.bavin@
hotmail.co.uk
emerge from the surfaces of today. Events known, but not experienced, enter the consciousness and are subtly connected through the fusion of space and human experience.
colleen.fordellis@
btinternet.com Pages 140-143, Elliott Wilcox
This work examines representations of the enclosed spaces of sports courts. In photographing the empty courts, absent of the fast paced action we are so familiar with, these environments reveal themselves in a new light. The camera shows details that the viewer can see closely, revealing many subtleties that usually go unnoticed. The vivid stains, ball marks, blood and scratches force the viewer to focus on these details rather than just the court.
Pages 132-135, Georgina Street A Matter of Abstraction
Vision is a highly subjective mediation of the physical world around us. The nature of perception can reveal how the brain organises and interprets sensory stimulation into visual patterns and derive meaning from the world.
This complex process can easily be an illusion or distortion of reality. Optical or visual illusion is characterized by visually perceived images that are deceptive or misleading. Perception begins with senses in the mind, which lead us to generate reasonable concepts representing the world and images around us.
The key element of my work is that perception and scale can be deceived through the lens of a camera. Macro abstractions begin to reinvent themselves, morphing into a surreal and dreamlike fantasy, portraying a world of unfolding bizarre images. A variety of cultivated moulds were the chosen subject matter to generate this imagery.
georginastreet_photography@msn.com www.gstreetphotography.co.uk
The courts have one single use – a ball game, with all their complicated rules and regulations. These normally sub-conscious spaces become alive. Much like a gallery space is missed to the artwork, the space of these courts is missed to the sport. These large format images are slow and deliberate. The non-judgemental image creates an experience to explore, a path to revealing the unnoticed and exposing the unexposed, consequently romanticising these environments.
elliottjpwilcox@hotmail.com www.elliottwilcox.co.uk
Pages 144-147, Abigail Evans Vista Avarice
The subtle disquiet surrounding the images of ‘Vista Avarice’ presents an ironic understanding of the landscapes portrayed. These locations have been spoilt; sullied by mankind in its search for valuable materials, fulfilling the human desire for the riches of nature. Yet they remain beautiful and unique.
As time passes by, these lands, remote and quiet, no longer disturbed by harmful human activity, are gradually returned to nature’s care. Over time the land slowly recovers, evolving as the visible evidence of the pollution fades, and as the legacy of the industry that used to exist, gradually subsides. Even in these lands, once heavily contaminated, the beauty of nature prevails.
Pages 136-139, Colleen Ford-Ellis Base
Often hidden, there is intrigue in the idea of a militarised space. From outside there is the question - what happens in there? Given the privilege of access, a child-like excitement of discovery emerges - a determination to go around the next corner, through the next door. The journey slows, spaces begin to feel familiar, discovery gives way to reflection. Sensing the unease of recurrent emptiness, albeit punctuated by the threatening malevolence of presence, layered histories
abi_evans@hotmail.co.uk
Pages 148-151, Samuel Wheeler Samuel Wheeler has combined his knowledge of martial arts with the use of staged photography to create scenes which explore certain dualities. Martial art is by its nature contradictory, it is a passive and defensive art which is created through the use of aggressive techniques. Many outside of the world of martial arts view it as aggressive or rough, when in reality the
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opposite is true, it is calm and peaceful.
The images have dualities of their own which mirror the defensive/aggressive nature of martial arts, the partially obscured figure in the scenes seems uninvited, and it is possible that the other characters are unaware of his presence. This suggests that the figure is an aggressor making the martial artist appear imposing and threatening. However the protective side of martial arts challenges this reading, the possibility arises that the figure could be a guardian of the character in the images.
Sjrwheeler@aol.com
Pages 152-155, Nicolas Hughes Illuminant
This work challenges our notion of a truly creative act based upon the relationship between space and creative perception. The interior of our own intimate personal environment has often been depicted as a space in which the creative mind can thrive with inspiration.
The window allows the light from the sun to illuminate this space, much like a plants growth depends on the relationship it has with the sun, the source of all life, creativity will flourish if exposure is decent and will shrivel if exposure is poor. One facet of the work engages in an exploration between the relationship that is inherent in light and the intimate personal environment.
In reaction to the notion of light governing creativity, a number of Individuals were asked to be creative in a space that to them is alien but to the artist is highly personal and visually familiar. The bedroom space was devoid of natural light in an attempt to stem the creative flow. The two bodies of work come together to help to articulate our creative interpretation of a space.
nichughesphoto@mac.com www.nichughesphoto.co.uk
Pages 156-159, Frederick Duffield The Good Life
Frederick Duffield came from Great Yarmouth to Wales to learn the ancient art of the bards. Needing to find new ways to tell a story, he learnt how to spin yarns, weaving twines and strands consisting of photographs, print, propaganda and a shed, together into a fragmented tale that alludes to: the necessity of creation; the world and its revolutions; self-sufficiency and its impossibility; rhythms of life; and a bondage to rebirth.
In other practices, Freddie makes art for an age of reproduction; using various means: photography, text, photocopiers, vernacular imagery and the exhibition as medium, he aims to create a structure that enables him to become self sufficient of culture and be free to live the good life.
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