Leia Ankers


I am a documentary and Portrait photographer. My work’s focus is to breakdown stigmas and change perceptions of identity within contemporary society.  The same as you began from having a disability myself. Since a young age I have stigmatised myself through my differences. I wanted to change the notion of people with dual sensory impairment and additional disabilities. It became apparent over time, that everyday objects and environments are very important. We use our senses all the time but most of that is by default and not conscious awareness. Most of the time we take our senses for granted. In this series, I aim to represent the perception of disability.  

Venue- Photo Parlour

Jade Birchnall


This project documents my brothers struggles with drug abuse. This Photo was taken during the height of his heroine addiction and a few weeks before he received a prison sentence. It is a personal project and is used to serve my brother as a reminder of how far he has come to conquer his addiction. He is now 2 years clean and making an effort to rebuild his life.

Venue- Backlit

Jacqui Booth


My work uses the landscape to tell my story, leaving space for you to tell yours. My upbringing in Derbyshire was infused with tradition, from galas where I took part in village life to a Tideswell lambing ceremony with a male voice choir and real lambs. In my early teens the coal mines closed and I was wrenched away from Derbyshire to Leicestershire. I further cemented the move from the rural by moving to Leicester and making it my home. Photography and art was always an interest, but moving out at eighteen demanded a ‘sensible’ job, and that’s where I languished for many years. One day I bought an entry level SLR and worked with that until my needs exceeded its capabilities and, through a little photography related work and a loan, I bought a better camera which has been an engaging tool.   My practice moved from straightforward landscapes, quickly changing to darker landscapes as I aimed to echo my thoughts and emotions through my photography. Prior to studying this year, my work was mainly centered around my own personal emotions. The thought process behind the images was not necessarily directly alluded to yet there was a personal narrative behind each one.  Through circumstance, I am largely self-taught, not entering higher education until my experience and exhibitions in Leicester, Nottingham, Brighton and London allowed me to access an MA in Fine Arts without holding a BA Degree.   I produce both digital and film images, reflecting my love of the wilder places in the UK. Most excursions begin with an OS map, starting from the edgelands and looking towards the wilderness, the lost places. Recently, my photography considers my ongoing frustration regarding freedom to access green space, trespassing and the urban environment, particularly the impact of traffic and the effect of that on mental wellbeing. Looking around my mostly urban area, there are city parks, verges and further out, fields and a few country parks. I appreciate these but they are structured, small pockets of shared space in which we are ‘allowed’ to visit if we have a car and the fee. Other ‘green’ areas are simply there because the land has no value for further development. Bearing in mind dangerously ignored climate change concerns, it has recently evolved to incorporate images of traditional and ‘false’ shrines to reflect what I observe to be revered, protected and respected.   Five Signs of a False Salvation   From this viewpoint, an overgrown, decorated and highly protected car park ticket machine gains the air of a modern shrine, an ancient arboreal shrine is misregarded by offerings of artificial materials, a young bird lies still on concrete in a city. Peace is found in a sacred glen but the scene is poisoned, sunlight burns through an unnatural veil of colour.  Stillness is felt at a stone monument, but it is a false shrine.    Shrines are usually sacred places, often natural such as groves but they can also be built temples or sanctuaries containing holy relics or objects. In some cases they may be said to contain the manifestation of a god or spirit. They are a space for remembrance, praise or worship.  These sacred places could be said to reflect a culture’s worldviews and values, with the idea of strengthening biological and cultural diversity. I would argue that this is clearly happening in our modern society, but they do not reflect back glory or salvation from an unseen deity, but a reinforcement of capitalism and the destruction of the environment, a shrinking of horizons for the working class person rather than the promise of salvation as if what is held sacred can’t be bothered to lie anymore. Yet despite it being laid out before us, we turn a blind eye. We allow our money to be taken by machines more venerated than nature, we festoon pagan shrines to the water supply with plastics, we leave our wildlife to die.   This work marks a departure for me away from the solely personal to a wider narrative, and a step away from the use of muted hues to overtly using colours in my work.  The influence is from the urban environment and Michelangelo Antonioni’s film, Red Desert (1964) which despite his previous work using black and white film, powerfully uses colour as a tool. I have explored alternative ways of presenting my photography, using plywood and tarpaulins, echoing visuals from run down and developing cityscapes and the opening scenes of Robinson in Ruins (Patrick Keiller, 2010). I particularly admire the work of Jonny Bark who has a similar aesthetic.      I hope to further develop my practice over the coming year by means of collaborations with groups in the Midlands, both established and self-led and show my work in carefully selected exhibitions.

Venue- New Art Exchange

Carl Bull


No matter what class, race, gender or creed we all mostly want the same thing in life, to get through it with as little friction as possible whilst being treated with respect and decency.  My ongoing project is born of the simple premise in that preconceptions can often be wrong and that people are brilliant, interesting, friendly, decent and funny and these photos hopefully go a small way in proving that.   I also hope to prove that the old cheesy cliche saying ‘A stranger is just a friend you havn’t met yet’ is true. 

Venue- New Art Exchange

Richard Chung


I am an analogue photographer based in Nottingham. I am constantly setting myself a wide range of different projects around themes that have a personal interest for me.  This is an ongoing project documenting the vibrancy and diversity of the people in the Hyson Green area of Nottingham.  This is a deliberate effort to promote the qualities of this part of the city. Whilst not without its problems, the beauty of Hyson Green and the opportunities within the location are often lost in the wider negative reflections on the area.  As these images were all shot on one very hot summers day i have decided to call this set of images ‘A Sunny Afternoon in Hyson Green’  I had recently watched Spike Lee’s film ‘Do The Right Thing’ which is filmed on one very hot summers day in Harlem, and was inspired by the aesthetics of the film and how Spike Lee had managed to portray that hot summers day feeling throughout the film but also the vibrancy of the Harlem community.  This is something i have tried to create…the vibe on those rare overly warm summers day where everything seems to slow down and the local community are on the streets enjoying the sunshine.

Venue- Backlit

Will Claxton

These are a selection of images taken over 3 trips, across a period of approximately 3 months. All situated in the beautiful, yet obscure landscape of Dungeness, Kent. Classified as the UK’s only desert, Dungeness’ shingle wasteland gives the impression of a time capsule from a fishing industry long forgotten. In the shadow of a close-by nuclear power-station, there are buildings and objects sprayed across this vast area – which spans across 12sq miles. I have chosen to use a wide 3:1 crop to try and emphasize the juxtaposition of the peaceful, yet bleak wilderness and these man-made structures situated within

Venue- New Art Exchange

Simon Clegg


“Once More the Fleeting Sensation”.   “Once More the Fleeting Sensation’ is a series of photographs that explores the literal and metaphorical journeys that I went on in the pursuit of memory. The title is an excerpt from the first volume of Marcel Proust’s novel, In Search of Lost Time, in which Proust explores why certain objects and experiences can become the catalysts for the vivid recollection of erstwhile memories. While going through a box of my late mothers possession’s, I discovered several cases of slide film that she had shot whilst hostelling in the late sixties and early seventies, and I was struck by the clarity in which they had recorded a place and a time. I chose to track these places down, to discover where she had been, and in turn attempt to reconnect with someone with whom I missed deeply. Little did I know when embarking on this journey, just how powerful the act of moving through the landscape could become, memories flooded back, un-bidden and at times traumatic, this was not the first time I had travelled this road, and I now realised, decades of journeys had filled this path with countless impressions. For Marcel Proust, recollection of the past came in the form of a cup of tea and a Madeleine cake. For myself it came in the finding of old photographs, and the journey that they subsequently inspired. Influences for this work include the American photographers Stephen Shore, William Eggleston and Alec Soth, and British photographer Paul Graham.  

Venue- Rough Trade

Chris Dale


I’m Chris Dale, a photographer based in Nottingham, England.  My photography comes from the enjoyment of being out in the woodland and countryside, unwinding from life’s stresses and being surrounded by nature. A lot of my work is focused on the local area, which isn’t known for big vistas. This has led me to look at the landscape differently, trying to capture the essence of the place at that time, rather than a straight representation. While most of my photos have no obvious landmark I aim to portray the different elements that make up a location, from the wider views to small details and abstract interpretations.  More recently I have been focusing almost entirely on abstract and project work, especially within a darker aesthetic.  My images have been published, exhibited and awarded in major competitions.

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Kelly Daniels


Throughout the summer of 2019 I was travelling within Southeast Asia. On this journey I finally ventured into Indonesia for the first time and revisited both Malaysia and Thailand. During this time I focused on meeting people from rural parts of these countries and exploring off of the tourist track. After meeting many people, absorbing the language and learning details about the culture I decided to focus on the women of these local communities.    From my encounters I found most women to be very humble, which was refreshing and understandable from a religious viewpoint. I was drawn to these women as I felt there was a lot I could learn and discover through them.   I chose to focus on these women to show the labour they endure everyday to make a living. Typically the women I met were strong, highly skillful, focused and hard working. Work for most people in these less developed areas can be very physically demanding. Long hours and heavy lifting is a trait I found prominent in most job roles for both men and women. In comparison to the UK I find stigma, culture and beauty expectations can divide the physical work that men and women do in their careers. It was eye opening to meet these women and get a glimpse into their everyday life.  The title “Tangan Wanita” translates as “women’s hands” in both Indonesian and Malay. As seen in my images all the hands of these women are rough, dirty, wrinkled, damaged and/or well worked. Once again, not the typical image of hands you may see from many women in the UK. I aimed to capture movement and detail in all my images to express the process taking place before me, representing how time consuming and repetitive these tasks can be.  All of the women are shown processing and handling local natural resources in preparation for sale. Regardless of the material in hand, I wanted my images to show the toll these tasks have on these individuals and how, like most job roles, the effects form the shape and appearance of the body we inhabit.  In all, I created these images to give an insight into the lives of these women to people who may not be exposed to the work that goes on in small local communities, like the ones in this project. In life everybody has a role to play and by understanding one another I hope work like my own can bring people from all over the world closer together.

Venue- Backlit

Jonny Davies


I’m a Welsh photographer based in Beeston, Nottinghamshire.  I became interested in making photographs whilst working as a stills and documents archivist for the British Film Institute.  Whilst working there I studied part-time at the London Institute of Photography and initially photographed authors for publishing houses and musicians for record labels. I relocated to Nottinghamshire in 2018.   The Rylands is a neighbourhood of Beeston which takes in sections of the River Trent and the Nottingham-Beeston Canal.  Historically the area has been badly affected by flooding and a defining Rylands image in the Google archives shows a caravan almost entirely submerged under water.  There are now new flood defences and whilst there is still some lingering sense of jeopardy,  I wanted to document the feeling of endless youth  / permanent vacation I found when I first visited in early 2018.  I plan to slowly evolve the project over several years.

Venue- Photo Parlour

Mariano Doronzo


Mariano Doronzo (b. 1986) is an Italian engineer, photographer and poet based in Nottingham. He moved to England in 2013 and started working with black and white street-photography using an old Praktica film camera.  Currently living in Nottingham, he still works only with analog equipment whilst also expanding his skills in the darkroom from processing film to handmade printing. Also a keen writer, Mariano was published in Italy in 2016 where his poetry book “Echi del mio tempo” (Echoes of my time) won the Premio Polverini national award for poetry. Most days you can find Mariano serving the finest pints at The Dragon Pub in Nottingham.

Venue- Backlit

Paul Dowker


Grassroots  Football has and always will be a key part of some people’s weekends, especially Sunday league football. More and more the land around these green spaces is being developed for residential or commercial developments. The green land that are home to this ‘religion’ is constantly being squeezed.   I have set out to document the contrast between the goals and the background, how they co-exist. I am shooting the images on a Mamiya C330 film camera and processing the images at home, then scanning them for use.   The project has only just started

Venue- New Art Exchange

Natasha Edgington


I’m a film photo-maker based in my hometown of Chesterfield. Though my subject matter varies wildly between sacred spaces, British pastimes, self portraiture and collaborations with artists, I am always coming back to – and building upon – my photographic catalogue of everyday midlands life (of which my submitted images are a select few.) My approach and aesthetic is to present each situation exactly as I find it, in all its raw and imperfect beauty. Most of the time I get in my car and drive around aimlessly. Having no fixed destination means I meander to parts I wouldn’t normally venture, and from my experience, those golden moments that we strive for as photographers lie await in the unknown. I think you’d be hard pressed to find any Brit today who doesn’t acknowledge the social and economic decay that we find ourselves navigating daily. We’re expected to feign a smile and gloss over the fact, despite the visible signs of increasingly vacant high streets and growing dependencies on community food banks. I wish to capture these hard truths through the lens of a midlands native.

Venue- New Art Exchange

Phillip Formby


Philip Formby is a photographic artist and storyteller who has lived and worked in Nottingham for over a decade. His art covers themes of environment, community, sub-culture and belonging. Josh Osoro Pickering is a British/Kenyan writer, producer and educator. He has worked and lived in Britain, Brazil, France and Kenya. His writing looks at ideas around music, food, minority ethnic communities and urban culture.

Venue- New Art Exchange

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 (www.foundcambodia.com) 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