Charles Fox

Charles Fox is a photographer who has worked predominantly in Southeast Asia since 2005, with a particular focus on Cambodia. His work has received wide international publicity, including in the BBC, e Sunday Times, GEO Germany, National Geographic, Time magazine, Washington Post, and Wired, among others. His long-term projects focus on the legacy of conflict and colonialism, looking at its multiple manifestations and how the present is a ected by the rulings and actions of the past. His work in Cambodia has led to a range of outputs including the continued research project Found Cambodia ( which looks at how Cambodian society rebuilt itself post-genocide through photography. Charles is a part-time lecturer in photography at Nottingham Trent University.

Venue- Backlit

Fabrice Gagos

French living in the UK, writer, painter, student in Journalism and… Photographer. Since I arrived in Nottingham, I’ve been stuck in the city, so I started shooting the streets to help me know the new place I was living in, to be part of it in a way while being a stranger. I’ve shot exclusively in Nottingham for the last 2 years or so. I’m not interested in shiny, commercial like picture, even though my activities include, for a large part, editorial portraiture, I try to always keep a documentary approach. But shooting streets is still what I love most, being a witness of what people don’t really notice or simply forget. I don’t value my work as important, it’s just an occupation, a game that keep me moving forward and keeps me connected with the world. I look for stories, quirks or moment where things are aligned for a split second to tell something more than they are.  I know there’s a lot of street photographer, and everybody is a photographer, so I’m no better than any other, it’s just mine, and I hope to make a book when I consider I have enough things to describe how I feel about the city, what happens besides the official stories. I’ve got documentary projects in development with this kind of approach: looking where others don’t or don’t want to. My training as a journalist made me understand that there were a strong need of this since journalist nowadays are trained to show people what they want instead of what they need. I hope that I’ll manage, in some extend, to challenge this. Street Photography is then part of my training, and has become more important than I thought when I started. Nothing original in my approach, I just try to be genuine and bullshitless. I’ve been an artist in France for 15 years, I know a lot about bullshit 🙂

Venue- Rough Trade

Dan Giannopoulos

I am a British/Greek photographer, film-maker and writer, whose work explores the lives of individuals and communities who exist on the outer edges of contemporary society; whether by their own volition or due to social, political and environmental forces beyond their control. My work has been published and exhibited widely and has been recognised by numerous international awards and grants.   In 2009 I gained a 1st Class Honours Degree in photojournalism at the London College of Communication and studied under the tutorship of respected British social documentary photographer Homer Sykes, who played a major role in guiding me in refining my practice.   After graduation I spent a number of years working as a press photographer covering live music for publications such as NME, RockSound and Metal Hammer, in addition to snapping red carpet events for daily newspapers. My focus then shifted towards developing long-form personal projects that would investigate diverse issues such as healthcare for the elderly, the ongoing global economic crisis, fringe motorsports in the UK and the impact of gang-violence in El Salvador. In all cases my work is driven by a fundamental urge to educate myself and challenge my understanding of some of society’s under-reported issues and by extension challenge the views of those that see my work.

Venue- Photo Parlour

Maria Gloria Harvey

When I got my first camera at 12, illness trapped me in the house. Unsatisfied with my photos of ashtrays and flaking paint, I turned the camera on myself. The method stuck. Even after an amazing recovery, I pursued self-portraiture at college, countering claims of it not being ‘real’ photography with Lauren E. Simonutti and Francesca Woodman. Alone with a tripod and remote, an artist has only themselves, their ideas and emotions. Such an environment encourages the raw expression of creativity – and the opportunity to address social issues through the undiluted visualisation of personal experience.  Hi My Name Is does just that. It observes modern fantasies, of the perfect woman, the perfect family… all of which appear real when visualised, but in reality are unattainable. The images, though initially perfect in their frames, are false. The characters are somehow familiar, yet they’re mere caricatures of glorified ideas. They can’t exist outside their frames. On closer examination, they show cracks: creases in backdrops, hair under wigs, a remote in the subject’s hand. It encourages us to consider how and why we chase unattainable perfection – and how the camera does indeed lie.  Graduating in Photography from Falmouth University, I’ve exhibited in Nottingham, London and Cornwall. In 2013, I won the YPP Prize at Nottingham’s New Art Exchange.

Venue- Rough Trade

Aaron Greco

Street photography has to be my favourite type of photography as it lets me be more creative and allows me to capture the natural candid expressions of my subjects. This series is called Life Through A Window. It shows the unseen part of the world that people are always walking past but not really noticing, a cafe window. I decided to create this series over a few weeks as I like how time can change a scene. By taking the photos in the same place and the same composion allowed the photos to work well as a set. The images themselves show a single person sat unaware that they are having their portrait taken, showing a natural unposed look which creates a story. 

Venue- Rough Trade

Kev Hawken

Kev graduated from Nottingham Trent University achieving a high 2:1 in Photography.  His interests are centered around the human condition and how it is affected in today’s contemporary society.  In extremely poor rural areas, extreme poverty and environmental degradation are often closely linked.  Pachamama Raymi’s methodology empowers large scale populations to get out of poverty by producing the innovations for natural resource management and better preventive health practices in a timescale of 3 to 4 years.  Working in close co-operation with the local government and using systemic social management – the methodology aims to reinforce peoples cultural identities, families and communities. This is done by peer learning, motivation and competition. The competition between families of every village and between the villages of the district typically lasts for 6 months, and around 5 to 8 competitions are needed to achieve sustainable results. Managed by rules and regulations, participants compete in the quality of the adoption of the innovations that the project seeks to introduce. At the end of the 6 month period communities come together and celebrate their achievements and substantial cash prizes are awarded.  In more detail, families are encouraged to start businesses such as guinea pig and trout farming that will provide them, in the short term, a level of income which is much higher than the minimum wage. For long term income (25 to 30 years) each family must achieve afforestation which provides them with a level of prosperity.  Not only does afforestation provide the local communities with long term income it also provides a sustainable natural resource for building materials and in the wider context of climate change, combat the effects of global warming.  Since 2008 this methodology has helped plant over 9.7 million trees in the Peruvian Andes, Tanzania and Nepal.

Venue- New Art Exchange

Rhys Herbert

King’s Meadow Nature Reserve is nestled within Queen’s Drive Industrial Estate and is a haven for flora and fauna in Nottingham.   Spanning just one acre, the reserve was established in 1992 when sections of fertile turf were transplanted from the former site of the Wilford Power Station. The site is particularly important for the orchids and other wildflowers that continue to thrive there.  With wildflower meadows rapidly vanishing from the British landscape, these small reserves are growing in significance. In the UK, it is estimated that 97% of the UK’s grasslands and meadows have been lost since the 1930s.  Informed by E.O. Wilson’s book Half Earth, in which he proposes that 50% of the Earth’s land mass is given protected status, King’s Meadow seeks to explore the impact of urban nature reserves.  As agriculture and development continue to encroach on the natural world, tension will rise in the decades to come. With a prime location in Queen’s Drive Industrial Estate, King’s Meadow will undoubtedly face pressure from developers in the coming years.   As I learn more about the history of the reserve, the project grows. My next steps are to pinpoint and revisit the former site of the King’s Meadow turf, and consult local archives to find out more about its past. I will also consult the Nottingham Wildlife Trust — the current managers of the site — to uncover their plans for the reserve in the years to come.

Venue- Backlit

Chris Hoare

This work follows a day in the life of John Mills, head brewer of family owned brewery, Tower Brewery.  Situated in a disused water tower in Burton (the home of British Beer), @towerbrewery is one of the few remaining independent breweries left in Burton.  After the painstaking process of converting the water tower into a brewery, John’s next battle was to be allowed to brew beer at the premises.  An ancient covenant existing on the property, put in place by the formers owners Bass, preventing a new owner from brewing beer.  Despite the covenant building far past its useful date, John still had to go through the difficulties (and expense!) of getting it lifting.    Fitting perhaps then, that the iconic Bass red triangle featured heavily in the branding for one of Tower Breweries first brews, ‘Gone for a Burton’.

Venue- Backlit

George Holder

I’ve always wanted to speak to my dad about his addiction but could never find a way to approach the subject. I’ve been aware of his addiction since I was in my early teens but we had never spoken about it until I started this project, which has been a very cathartic experience for the both of us as son and father. The project spanned over around 4-5 months, but I plan to continue it gradually over the years, building on the first hand testimony I’ve gathered from speaking to him. The testimony ranges from him unknowingly breaking into a cob shop for milk while under the influence, to seeing somebody overdose, all of this building on the mentality of the person suffering with addiction.  My name is George Holder, I’m 22 and I’m a photography student based in the East Midlands. The majority of my work revolves around location, and emotions that are felt within places, but I’ve started working towards more socially conscious work, primarily within misconception of addiction.

Venue- Rough Trade

Julian Hughes

My practice is site-specific and involves walking as a methodology to investigate a place, its history, its geology, the people who inhabit it and the stories these tell. The chance encounters, staged actions and invited responses from others on these journeys are documented through photographs and film. This photographic and moving image work has been exhibited nationally in solo and group exhibitions and publications.   Taken over the last year using a mobile phone camera, the series ‘Door Stops’ illustrates the banal, overlooked, often inventive objects and methods to keep doorways open.  

Venue- Carousel

Ema Jayne Johnston

Temporality is the exploration of the temporary state of mind. Using Polaroids to signify the temporary state of being I altered the chemicals to physically show how this relates to people and how they change depending on their surroundings and environment. I wanted to create how I was feeling, to show how my illnesses were making me feel and to help people around me understand who I was and how that changed every day. I chose to work with polaroids as I felt this would be the perfect medium to represent my project intentions. Polaroids once tampered with are as temporary as a persons state once their surroundings change.

Venue- Backlit

Tim Johnson

In this project, I could be working with the idea of reality and how fiction and facts can be combined to make a collection of images. These images progress through ideas, views and news, however, these are my own twist to them and could lead to a biased view (depending on how you read the images) Another theme to these are all self-portraits, so it’s a basically a way to draw my self up to represent my ideas. I am trying to get the audience to see how this work was produce and how no of its really true, just a man how acts out these poses and get stuck on with an artist photographers point of view. By showing this work I want to show the public and other artist my work and how adapted to a style which could be unusual and it shows how others have influenced me, and worked around with camera techniques and Photoshop. To me this work is also personal and it contains my in take of a reality we hardly see or commonly see and just let it go by us.

Venue- New Art Exchange

Rasha Kotaiche

You have your Islam and I have mine. Our self-perception comes from our understanding of our ethnicity, nationality, class, generation and religion. As a British-Lebanese photographer I’ve been using my own experience, being a second generation migrant and minority in Britain, as the source to my intrigue in learning more about cultural identity. I started my practice in 2016 where I began learning about the difference in my nationality and ethnicity, understanding what it meant for me growing up and which place I believed I fit in more. Visiting Lebanon on numerous occasions, I travelled different areas in the country, photographing the location, culture, way of life and what ‘my Lebanon’ is. Knowing this was only the start of a long line of work, I continued on focusing on cultural identity and traveled to Kuwait in late 2017. Kuwait is the land my Paternal Grandparents chose to raise their children and grow old in. With this connection, I looked into generation and migration, focusing on my parents, photographing family, location and incorporating family archives in my publication.  You Have Your Islam And I Have Mine continues this exploration of cultural identity by focusing on religion and locality. Developing new friendships with other British-Arab women who identify as muslim, whether practicing or not, I chose to focus on their relationship with their religion, reflecting my own through similarities. Each woman has had a different upbringing, each learned a different interpretation and understand the same religion in different ways, but all share the same core spiritual beliefs.  Inshallah.                          Mashallah.                         Subhanallah.                         Alhamdulillah.  What must be will be.  You are blessed beyond belief.  The world works in mysterious ways.  Be grateful, always.   Photographing the women outdoors was a way to present them connecting with the physical world, as well as to highlight the British Landscape. Placing them into the public eye of Nottingham, being gawked at by passersby with a look of confusion as to why they’re having their photo taken, put them in two positions of emotion. Anxiety from the looks of others; the fear of judgement, potential abuse or general uncomfortability. Contentment from nostalgia, being outdoors, sun on their face, wind through their hair, surrounded by a natural landscape of beauty. I used the power of communication and conversation to get them relaxed as I photographed them, not for them to forget that they’re being photographed but for them to not overly pose. To keep it on topic, we had conversations discussing our relationship with Islam and what our experiences were like growing up in a country where the religion is a minority. My aim was to present them in a state of contentment, strength and faith in who they are.  My own narrative begins with attending a catholic school for 14 years, never having any Arab or Muslim friends, and being given the choice to truly learn about the religion by my parents; I never identified as Muslim from within but as a default identifier. As I began to meet people at Nottingham Trent university who are Muslim, at the same time as personal issues appearing, I began to take an interest in learning more and developing my own spirituality. Speaking to these girls and others, I learnt more about different ideas and opinions, progressing my own thoughts on the concept of religion.  With this being the first sector of my practice to solely focus on portraits, I began to explore my development of the genre through the use of different mediums and styles; from using the studio and attempting self portraits to using different medium format and digital cameras, playing with colour and black and white, trying styles from documentation to fashion. I found that a structured documentation, where I chose the location and the clothing and asked the model where to stand and pose, worked best for this series. As religion can often be a sensitive topic in this current political climate, I felt it best to present the woman simply and overtly as to not misrepresent or solely focus on a stereotypical looking muslim woman.  Although the colour copies of the images highlighted the British Landscape more, the use of black and white brought the connection between model and location, where the atmosphere is more prominent through the lack of colourful distraction; we begin to focus on the facial and body expression more than we do on the landscape. The aim for this series is to focus on each woman individually and learn from the way they present and hold themselves naturally. With many second generation migrants going through similar struggles of learning and developing, proving that there can be a connection between them and this land, starts a conversation about the issues and pressures faced from family, peers and the public.

Venue- Backlit

Daniel Lee

This sequence of images was made at the site of the now closed Pooley Colliery in Warwickshire. They are part of a larger body of work that explores themes of growth, atrophy and change in relation to place.  Pooley was the first colliery to generate its own electricity and the first to have pit head baths. The pit shut in 1966 and it is now a 62-hectare site of which one third is now designated as a Site of Scientific Interest. The site is dominated by a large slag heap and the surrounding lakes are the result of subsidence from collapsed mine shafts.   I am the grandson of a miner and grew up here in the late 70’s and 80’s. I remember the water was stained green, black and copper and the earth was still warm from underground fires. I would cycle, fish, drink and smoke here. The area began to change in the 80’s as Birch trees started to colonise the site and wildlife returned. Birdwatchers, dog walkers, cyclists and joggers navigated the routes once used by miners.  I moved away in my teens and had not returned to the site until this year when I visited to make images as part of my post graduate studies.  I intended for the work to act as a window on the public significance of a post-industrial landscape reflecting environmental discourses. However, I could not escape the persistent bearing of place and history on identity and image making. The focus of the work transformed and grew into one that functions as a mirror to personal narrative and metaphor entwined with a public place.

Venue- Backlit

Jon Legge

This project is concerned with memory, photographs that I am drawn to make for reasons not easily articulated. These photographs seem to chime with half remembered childhood journeys, fragments glimpsed for less than a second. The places that attract and repulse in equal measure. Their emptiness is intentional, the absence of people possibly adding to the sense of threat or uncertainty.   Jon Legge is a Nottingham-based photographer and teacher of photography. He graduated with a BA(hons) Photography (1994) and Masters degree in photography from Nottingham Trent university (2001). He currently works as senior instructor in photography at Coventry University, and is a self employed photography teacher/workshop facilitator working throughout the East Midlands and beyond.

Venue- St. Peters Church