Holger Martin

https://www.instagram.com/holgermartinphotography/?hl=en

Bjartur in Laxness’s “Independent People” proclaims: ‘The chief point, and the point towards which I have always directed my course is independence. And a man is always independent if the hut he lives in is his own. Whether he lives or dies is his concern, and his only. Otherwise, I maintain, one cannot be independent. This desire for freedom runs in a man’s blood, as anybody who has been a servant to another understands.’ The sprawling novel built around Bjartur portraits him as a single-minded character, who acts in brutal ways to protect his meagre outcome in a ferocious landscape in a time when Iceland emerges into modernity. Today’s country is a far cry from that portrayed by Laxness but the staunch desire and also necessity for independence remains deeply rooted. With its roughly 350,000 inhabitants in the middle of the Atlantic, the country cannot depend on neighbours or supply lines close by. As a community, Icelanders have translated this into the maximum possible self-sufficiency, where the harsh landscape provides for much of what this micro-nation needs. I began “Independent People” in the summer of 2017 in southern and western Iceland. The desire to portray how Iceland’s independence is visible in the landscape, beyond the traditionally shown Icelandic landscape photography, is the reason for this project. I also see this in the wider context of the Anthropocene, the age in which the activity of humanity becomes irreversibly imprinted on to our world and the pressing need to develop a more sustainable form of being.

Venue- New Art Exchange

Diarmuid McDonald

https://www.instagram.com/dmcdonald_photo/?hl=en

I am photographer and writer based in Nottingham. My work is often personal and self-exploratory, blending original photography and writing alongside archival materials. In 2016, I completed my MA in Photojournalism & Documentary Photography from London College of Communication.   My project No Further East is an exploration of memory and loss, both that of my mother and of the socio-economic fortunes of the seaside town of Lowestoft. In 1993 my mother died of ovarian cancer, I was too young to have formed any memories of her and my family moved away from Lowestoft in the late 1990’s. Like many seaside towns across the UK, Lowestoft has experienced a steady decay since the 1980’s, with much of it’s core industries such as fishing and domestic tourism in decline. Even during peak summer season, Lowestoft and the surrounding areas feel empty; the beaches seemingly visited only by locals, and the town populated with the ruins of it’s former industries.  I spent time in Lowestoft exploring the town of my early childhood. Inspired by the writings of W. G. Sebald, who twenty years earlier passed through Lowestoft on a walking tour of the Norfolk and Suffolk coastline, I wandered through the town and the surrounding areas, exploring the ruins of factories and holiday resorts. I tracked down and met with family friends who shared their stories and memories of my mother. Some showed me pictures, others video footage in which for the first time I witnessed my mother’s body animated and living. I prepared an extensive shot list of what I planned to photograph, which I quickly discarded in favour of taking photographs only when I felt compelled to do so.   No Further East consists of my own square photographs alongside old family photos from during and before my early childhood, showing my mother at play with myself or my brothers. Alongside these images are a series of scanned texts, written by myself.  I seek to explore my own loss alongside that of the town, photographing places that my mother perhaps may have been and imaging the insistence of her lost future which never came to be.

Venue- Backlit

Chris Middleton

https://www.instagram.com/not_your_average_sightseer/?hl=en

I’m a Nottingham photographer trying to fulfill my hopes to a career in freelance photography. This is one of 3 daily photographic exercises to fill my head with positivity when times are difficult, I started first of all shooting flowers and their working insects in the garden which then progressed into going out daily for walks in and around nottinghams urban, rural and edgelands to see the varieties of plant and insect life and then to at least try to research their names and habitats should my head allow me to.

Venue- New Art Exchange

Finley Middleton

https://www.instagram.com/finley_middleton_photo/?hl=en

Born in Peterborough, my family has always lived in a town called Stamford (just outside of Peterborough) and it’s where I have grown up my whole life. I’ve always been creative; from making my own lego creations to playing and creating my own games in the playground of my primary school. I always enjoyed school because my friends made it worthwhile and enjoyable. As I went through school life I had developed appreciation for creative arts; I learned how to play guitar for the first six years of school and then decided to leave it behind in secondary school. This was when I was first introduced to photography; the classes I first had were basic but I enjoyed tinkering and playing with the buttons to take a photo. I grew basic photography skills over the period of secondary school and throughly knew I enjoyed this subject the most. This was when I wanted to take my photography to the next level and into a professional state in years to come. After school I went on to do a two year media course where I learned about branding, aesthetics and film skills. It’s a beneficial course to do if you’re looking to go into the photography world because the media is where most of your work will go out to; learning about this area proved to be worthwhile for me and I got a better understanding of what I need to do to get my work out into the world. Afterwards I started my University course at New college Stamford. Ever since the start we have been experimenting and creating projects that prepare us for the open world of photography. One of these projects was Traces. The word traces is very broad and could be interpreted as many ideas. My family was the main focus; households were what I wanted to focus on. Often enough, objects are used and then left to be used again later around the house becoming a trace of that person until they return to it. This is what I aimed to capture. Personally I think it was a successful attempt; I’m still learning and improving my photography imagery all the time and with every new project I try to think of different photography techniques. Right now I only have one year of education left until I go into work potentially. I think that my skills and ideas in photography are strong enough to withstand the world and hopefully I will make my family proud of the work I am able to produce. Visually I aim to please and bring questions to what I am taking a photo of. I think of myself as a perfectionist and would want nothing less for my photography.

Venue- New Art Exchange

Claudia Milena Gonzalez

https://www.instagram.com/klaudiamylen/

This project was made to tell a story about the importance of having a connection with nature and other people as well. I discovered the world of allotments after moving to England, as I had never heard of something like this before, since then we have one that we share with a friend. My daughter Alessandra enjoys it very much, as she is learning beekeeping with Glen, the owner of another allotment next to ours. Alessandra is always trying to learn from people around her, and having an allotment has helped her youth self to get closer and learn new things from the people that inhabit the place where we, not so long ago, live.

Venue- New Art Exchange

Wesley Morgan

https://www.instagram.com/drk__room/

The project idea originally stemmed from my interests in observational photography practises such as street photography and social documentary photography. Both individual practises that share no intimate connection with its subject. However, this is where a little contextual research into my own interests and hobbies became more than useful in developing my own photographic style and approach in this project. Knowing my restrictions, I began to look into what interests me not as a photographer but what inspires me musically. From there I backtracked to find inspiration photographically. I started off documenting the “behind the scenes” of the group as a whole itself in an attempt to highlight the hard work that is not usually seen in the music industry. But, as I soon I did this I realised by simply showing the moments of hard work and labour my project became more external, one sided and empty, I had no position or involvement within my work. From the beginning even with little direction I wanted this project to have some sentimental value to me as an artist, so I decided more research was needed to allow this project to flourish fully.   This is where my engagement with Dana Luxenberg’s project “Imperial Courts” at The Photographer’s Gallery in London, 2017 became a pivotal turning point in both the technical direction and contextual direction of my project. I had always favoured this project and sadly overlooked in influence until partway through the creation of this series. The formality of her work and intimacy incorporated into the portraits because of the larger film format used inspired me to look more into the individuals in the group with a slower working camera. This allowed me to capture intimacy rather than snapping the processes unconditionally.     I took influence from her open approach to how the individuals had an input on their image. Whether it be a pose a location or quote, her ideas worked fluidly with the wishes of the individual photographed.  Ultimately her work made me consider the value of the environment within the portraits as well as their relationship with the groups sound and image which led me to produce a series of Black and white portrait diptychs, window mounted, and hand printed on silver gelatine paper. Another project that inspired my approach is the work of Rosie Matheson in her project “Boys”. The series uses close up portraiture to explore the sensitive side of young men, which actually related to my project unintentionally. This project ultimately exposes a sensitive side of an artists to the public by taking away all but the person. I used this idea and expanded it to incorporate an environmental perspective to show how deep a camera can go.   From this point onwards my love for traditional processes expanded into the use of medium format film only which transcribed the level of intimacy I needed because of the slower more technical process used allowed me to further develop my own relationships with individuals in the group. Following on from this I took inspiration from other collective groups by looking at iconic Hip Hop photographers and groups such as Danny Hastings, Chi Modu, David Corio and Jannette Beckman all of whom photographed legendary Hip Hop groups like the Wu-Tang Clan, EPMD, A Tribe Called Quest and Jodeci. This research formed an early understanding of the importance of heritage and showmanship that the music industry demands, and how the features operate within an image on separate levels of representation. From the first photoshoot my work has constantly evolved from a simple observation of the processes of writing and recording to becoming a personally involved photo project that concentrates more on individual artists rather than a whole group.   By creating work in black and white on a 6×7 medium format camera, my work pays tribute to the processes used in the 1990s and delivers a quality that highlights the care I have placed in this project. By working with analogue processes every step of the way from shooting to processing and hand printing. The process of image production is handled in a more personal and delicate way. This does not only convey a stronger connection towards the individuals I have photographed, it also eliminates any room for misrepresentation. By creating this level of trust between me and the subject it reveals a visual intimacy that has emerged from the hard work and persistence of creating relationships with members of the collective. The progression of this project has created more of a personal motivation than originally intended which has shifted my concentration more to the specific individuals. I have realised to truly capture a personality you have to be part of what drives them.  

Venue- Rough Trade

Jessica Pearson

https://www.instagram.com/jesspearson_14/

I am a Nottingham based photographer that specialises in portrait and fashion. I am currently looking for studio assisting and assisting work to try and push my career further and meet people within the industry.   Statement: I no longer buy first hand fashion. Second hand fashion opened up a whole new world for me. It’s about the thrill of the thrift. You enter a shop unaware of the gems you’ll leave with. Fast Fashion is so mundane. It’s about retailers forcing us young people into a constant need for more. We buy slogan t-shirts about empowering women, but research how your clothes are made is that really empowering women? I choose not to support this. Second hand fashion allows me to buy pieces no one else has. I can be an individual, a creative. I can find vintage pieces with more memories than me and create more memories with them. Restyled is a photography project about people who love second hand fashion and how they style their pieces.   Description: I believe that it is now more relevant than ever to be more considerate of how we shop with the increasing prevalence of extinction rebellion and Fridays for future within our media. I wanted my project to be able to show people that second hand fashion is an easy alternative and buying second hand will prevent clothing going to landfill and further polluting our environment. Fashion constitutes to 8% of our global emissions. Shopping second hand reduces your impact as the production emissions are eliminated and the transport emissions are reduced. I also wanted to fight the stigma that second hand means dirty and unloved. I tried to show second hand as elegant, beautiful and full of life.

Venue- Photo Parlour

Tom Platinum Morley

https://www.instagram.com/i_forget_therefore_i_insta/  https://www.instagram.com/emotions_from_photons/

Freelance Photographer based in Nottingham mostly working live events etc. 33yrs old, went to college at 27, nailed it, started uni at 31, hated it, trying to be a full-time freelancer since about spring last year, loving it.  As above, the ‘project’ has been going for just over five and a half years now and has no real end point that I have in mind. I quite like that the imagery that I spend time composing and editing is shredded down to a small quality file file and dumped on social media for instinctual judgment. While I am limited by Instagrams t’s & c’s with how much I can put out there with the darker side of my mental health issues the images are not meant as a more than for myself and only meant to represent the day through my thoughts behind my public mask. The act of broadcasting these images though has led to a handful of people around the world connecting with me about starting their own regular journal type accounts which is nice and uplifting to see happen. I’m always intrigued with how people react and talk to me about the project though as it seems to bring a good mix of reactions.

Venue- Carousel

Daniel Rapley

My work explores conventions of labour, temporality, authorship and creativity and their location within the environment of contemporary fine art practice. Projects often become monuments to absurd and irrational modes of production, and can be seen as documents of performative actions. Photography plays a large part in my fine art practice and this project (Junctions) is one of many ongoing photography projects.   Project Description: ‘Junctions’ is a project that explores ideas of ephemerality, permanence and the materiality of the photographic image. The images are made from a collection of thousands of 35mm film transparencies acquired from house clearances over a period of time. Each picture is made by placing two transparencies on top of each other on an LED light box and photographing with a macro lens and a Canon 50DS in order to capture an image with extremely high resolution. Time and space from both transparencies are collapsed into a single ‘hybrid’ frame and these lost images take on an otherworldly new life. The images are riddled with dust, hairs, scratches and other artefacts present on the transparency at the point of image capture and no attempt has been made to clean the file.  Biography: Born in the UK, 1979 I live in Newark, Nottinghamshire I am an artist and lecturer. I have previously taught on the Photography BA at Lincoln University. I currently run the Art & Design Foundation Course at Lincoln College.  Education: MA Fine Art (Distinction) 2011, Chelsea College of Art Postgraduate Diploma in Fine Art, 2010, Chelsea College of Art BA (Hons) Fine Art (First Class), 2001, DMU Leicester  Solo Exhibitions: 2018 Transcription Flags (public art commission), Usher Gallery, Lincoln, UK 2012 Covenant, Payne Shurvell, London 2011 Archive of Lost References, The Old College Library, Chelsea College of Art, London  Selected Recent Group Exhibitions: 2019 Surfaces (group photography exhibition), Millepiani, Rome, Italy 2019 Enough Is Definitely Enough, General Practice, Lincoln 2018 The Arca Project, Payne Shurvell Gallery, London 2017 31 Degrees C, ASC Gallery, London 2017 Would You Like To Come Back To Our Hut?, Club Solo, Breda, Netherlands 2017 Would You Like To Come Back To Our Hut?, Backlit Gallery, Nottingham 2017 Draw The Line, Surface Gallery, Nottingham 2017 The Arca Project, Payne Shurvell Gallery, Suffolk 2016 Staff Show, Photography Department, Lincoln University, Lincoln 2016 Mass, Backlit, Nottingham 2014 A Bright and Guilty Place: Part II, The Hospital Club, London 2013 Creative Cities Collection, Olympic Park Gallery, Beijing, China 2012 Creative Cities Collection, Barbican, London   Book & Catalogue Publications: Catlin Guide 2012 (ISBN: 978-0-9564570-2-8)  Creative Cities Collection (exhibition catalogue) 2012 Masters of Arts 2011, Chelsea College of Art & Design, Edition of 1000 copies (ISBN: 978-0-9569882-0-1) London Art Fair 2004 (catalogue)  Articles & Reviews: 2012 Amy Sherlock, review of ‘Covenant’ in Frieze.  2012 an magazine, April 2012, p.28 Daniel Rapley: Covenant, by Anna McNay.  2012 NY Arts magazine Vol 19, p34 Belief in the Book: Daniel Rapley’s Sic, by Beverly Knowles 2012 Paul Carey-Kent’s Top 10 on Saatchi Online.  2012 Beth Fox, review of ‘Covenant’ in Artists Insight.  2012 Chloe Nelkin, review of ‘Covenant’ on Artista.  2012 Huffington Post In the Beginning: Daniel Rapley’s Bible, by James Payne and Michael Hall.  2012 Artfridge article about ‘Covenant’ by Anna-Lena Werner.  2010 In The Beginning Was The Word, In Ballpoint, Elizabeth Renzetti, The Globe & Mail, (Canadian National Newspaper) 2005 A Natural World Made Modern, Chris Schuler, The Independant  Awards: 2012 Catlin Award (shortlisted) 2011 GAM Prize (shortlisted) 2001 DeMontfort University School of Business Purchase Award  Lecturing / Teaching   2017 – present Art & Design Foundation Studies Programme Coordinator,  Lincoln Art College  2015 – present Lecturer, Art & Design Foundation, Newark College  2016 – present Associate Lecturer, BA Photography, Lincoln University  2017 Associate Lecturer, BA Fine Art, Leicester De Montfort University  2017 – present Associate Lecturing pool, Leeds Arts University, Leeds

Venue- Rough Trade

Alice Rodgers

https://www.instagram.com/alicerodgersphotography/?hl=en

‘Holly’ is a selection of photographs that come from an ever growing catalogue consisting purely my younger sister. I find myself with a consistent urge to not only capture her growing through adolescence but also establishing our relationship through the photographic medium. In the beginning, I used her purely to set up shoots, test ideas and as a starting point for bigger projects. However, over time she has become the only person I ever want to or feel truly comfortable shooting. We share the same desire for ‘truth’ in my imagery (or as truthful as photography can be) with me wanting to show my sister through my gaze and her wanting to represent her ever evolving identity. Because of this, the images end up holding an almost diaristic quality; a documentation of her teenage years through the lens of someone watching her grow. Our age difference is three years. Short enough for us to continuously relate yet long enough for me to grow nostalgic as I watch her tackle the same issues I have just faced myself. I feel ultimately it is our relationship that makes photographing Holly something I never want to stop doing, I see our lives projected through her portrait.  All photographs have been shot on a Hasselblad 500cm with exception to image: Project piece/ February 2018 which was shot on a Canon 5D Mark ii. Interesting as stylistically upon editing at the time I mimicked the Hasselblad format before ever picking one up. Funny that.

Venue- New Art Exchange

Steven Rose

https://www.instagram.com/stevenrosephoto/

This is an on-going series of photographs that explores comfort in a familiar setting, capturing the connection between my subject Tilly, and her parent’s warm, inviting home. The house sits on the banks of the River Trent in a quiet, back road of Clifton, surrounded by a serene landscape, filled with cornfields, woodland, fishing pond, and the river. This place is far away from the noise of city or suburbia and Clifton estates. The stillness offers a great sense of privacy here. As a child, all Tilly knew was the freedom of this rural playground, far away from any noise apart from the birds and crickets. Going back to her parent’s house; after moving out a year and a half ago, Tilly is able to wash away her everyday stress and anxiety with the forgiving silence, giving her time to collect her thoughts and breathe. She knows she is at home when she can see her parent’s boat sitting in the river from her veranda. The four walls which these photos were taken act as a comforting blanket of memories for Tilly that evoke feelings of nostalgia, making her happy to be back to the place she truly calls home. I followed Tilly between a 12 month period whilst shooting the images I have so far. I like the sunbeams in the images as theme, something that symbolizes a light that guides us. I also want my subject to appear comfortable and a confident with herself, as this the place the reconnects her to the thing that reminds her of who she is, and helps her balance her mental health.

Venue- New Art Exchange

Emily Ryalls

https://www.instagram.com/emryalls/

‘These Ties That Continue to Bind’  The women here, myself included, are part of a community interlinked by a disbelief regarding our chronic condition as a result of the HPV vaccine. The HPV vaccine was introduced in 2007 and now accounts for more than 60% of all reported adverse reactions – It is the second most profitable vaccination in the world. In it’s current stages, the project has covered ground in Denmark, England and Wales but will continue to document the controversy, developing both geographically and politically. In 2013 the Japanese government withdrew its recommendation to use the vaccine and in 2015 Denmark filed a report with the EMA, as well as setting up regional centres to address the adverse reactions that many girls were facing.  The project has many layers, all married within the photo book ‘These Ties That Continue to Bind’. Bringing together a collection of photography, performance and documentation – visualising a geographically disjointed and often misrepresented group of females.  In our current social and political climate anyone who questions vaccinations are deemed part of the ‘anti-vaxx’ movement, which is said to be one of the biggest threats to our society. The project juggles this stereotype, alongside the ‘mad woman in the attic’ ideology, an ideology which has haunted women’s healthcare for decades – featuring as the groundwork for some of our classic literature such as Jane Eyre and The Yellow Wallpaper. Aesthetically the photographs have stayed true to classic black and white photography practices, partly for visuals and partly to reflect the archaic nature of gender disparity in healthcare. In an attempt to further encompass both the beauty and coinciding torment of the Bronte writings, I decided to produce photographs that allowed me to blur the lines between a divided photographer/subject relationship, exploring my own feelings as well as theirs. Partially influenced by the cathartic element to my meetings with the girls and their mothers.  I began meeting families in Denmark, before moving onto the U.K. Introductions had been made via email and social media, and due to my personal involvement in the community, there was a sense of familiarity which eased some vulnerability. In further pursuit of easing any discomfort, I sat beside the girls for the photograph. It became a way for us to be visualised, united in our own narrative. A question posed by Jo Spence and Joan Soloman in the book What Can a Woman Do with a Camera? remains instrumental to my work – ‘How then, can we make our subjective selves visible?’. I battled this on many occasions and anticipate that I will never come to a conclusive answer, but as the project progresses, I see how self- portraiture and performance can aid us in placing our voice in a larger social and political context.  The performance element to the work is something which to some extent is present throughout the entirety of the project. The act of our first meeting, two people who had been just an online presence, united through the knowledge of each other’s personal and private medical history. Standing together to create a photograph, as a document of that initial meeting and our intertwined experience. This photograph would then go on to stand alongside other photographs, of other meetings – becoming our visual diary.  Despite political views tainting initial perceptions of the work, its important to note even without the suspected implications of the vaccine, the young women and girls within this community (along with their mothers) are all subjected to abuse, mental health misdiagnoses and a lesser standard of care due to vocalising their concerns about this vaccination.  Creating a platform through photography for issues which concern women’s healthcare has always driven my practice. My performative series ‘The Yorkshire Moors’ which was an extension of this body of work, was celebrated within the NTU degree show and the London Free Range show, with the addition of an exhibition opportunity at the New Art Exchange earlier this year. With plans in place to extend this project within the U.S next year, I’m interested in the political development of my practice over time and how a change in narrative could effect the work visually.

Venue- Backlit

Michael Sanders

https://instagram.com/michaelsandersartist?igshid=1layww8nibv8c

I am a UK based artist working from a former military airfield in Lincolnshire, England. In 2011 I was awarded the OPEM Purchase/Commission Prize sponsored by the Heslam Trust. My practice often subverts the everyday: as the blundering nuclear tourist I make gentle interventions at former Cold War and nuclear sites, using tartan and textiles to challenge and reappropriate the imagery and symbolism of military power and technology. I also work as a specialist metalworker and welder. I think this gives me a particular insight into both good and bad sides of engineering and how we use and misuse technology.  Statement I seem to be drawn to people and places touched by conflict and much of my work has been driven by reflections on fear and the Cold War, I feel that as long as nuclear deterrents exist the Cold War will not be over.  I am fascinated by the human energy that has gone into this non-conflict. It has a kind of ‘Fearful Symmetry’. When one visits a site of deterrence you know that inevitably somewhere else there will be an equal or opposite of it. It is a system of sinister magnitude and complexity.  Project description  I had the Polaris tartan suit made in 2008 as part of a larger body of work that explored sites and remnants of the Cold War both here and in America. ‘Polaris Military’ Tartan was designed in 1964 for the officers and men of the American Submarine base at the Holy Loch. Polaris was the name of the nuclear missile carried by the U.S. Navy’s ballistic missile submarines in the 1960’s. Originally worn as part of a larger exhibition entitled RUIN mounted in California, which examined the accidental damage caused at Babylon after the second Gulf War, I feel that the suit allows me to don the persona of the “blundering tourist” or “outsider” and simultaneously initiate a process of “re-exporting the original insensitivity of the tartan and taking it on a kind pilgrimage to some iconic nuclear sites.”  Whilst I have taken the Polaris Tartan to sites around the world; this was the first time I returned it to its place of creation in Holy Loch in Scotland. It is close to the current Royal Navy Trident submarine base and weapons store. To accompany the tartan suit, I also wore some nuclear tourist casual wear. The gold work badge on the blazer says ‘We Pump Unseen’ It is a reworking of the Royal Navy’s submariners motto ‘We Come Unseen’.  The Royal Navy at Her Majesties Naval Base (HMNB) Clyde commonly known as Faslane routinely pump radioactive effluent including Cobalt 60 and Tritium into the Gare Loch. The isotope Tritium is also vented to the air from the nuclear weapons stored at Royal Naval Armaments Depot (RNAD), Coulport. This can make its way into the local environment in ‘Tritiated’ rainfall. It seems ironic to me that we are willing to poison our own land in order to defend it.  This work is partly a documentation of my gentle performance interventions; I had negotiated my presence with the Ministry of Defence (MoD) but was on this occasion not allowed into either base. Mostly my only audience were MoD Police officers (I was questioned five times while working and was always monitored on CCTV). It is reassuring that such sensitive places are so secure, but the area carries a dense atmosphere of security and threat. I made landscape photos and recorded the sounds of routine siren tests from the bases using a homemade device, with a megaphone that could both broadcast and receive.  The sirens would be used in the event of a nuclear accident on either site.   I wanted to capture this deceptively beautiful landscape with the picture of HMNB Faslane at Night; I feel the dark foreground is like a slick travelling across the Gare Loch to the submarine base.   The scale of the weapons store at Coulport is misleading, It was originally the Polaris weapons store and was updated to accept Trident missiles in the 1980s and 90s and much is tunneled into the mountain. At the time it was the second most expensive procurement project in the UK after the Channel Tunnel project. After I approached the fence to make the triptych photograph, I found myself in a stand off with a white pick up truck that appeared behind the fence. No one got out and it waited until I left. It is depressing to find oneself in places where you feel scared of the consequences of photography. I wanted to create a dirty surveillance feel with this image.  Note: These works are scans from original C-type prints printed from film, in the event the work is selected, I would provide higher resolution scans made.

Venue- Broadway

Evie Scarborough

https://www.instagram.com/eviescarborough/

This series of images is from my ongoing documentary project ‘maybe if you understood’ which includes images I took on a day-to-day basis of my younger sister, aged 15, who has high-functioning autism. The images showcase many aspects of her life such as her online schooling, her extensive collection of teddies, her relationship with the family pets, a blue tin box which the family has to keep medication and razors in as she often has low mood days, encouraging suicidal tendencies. The aim of the project was to show people the up sides as well as down sides of the autistic spectrum as it is a common assumption that autism is a taboo subject that people avoid discussing due to the preconceived negative connotations.  As a practitioner, I really enjoy exploring marginalised communities and social issues within my work. In the past I have delved into mental health within my work further alongside gender. I am also currently working on a project which explores the decline of the traditional nuclear family. I would love to develop all of these projects on a larger scale, being able to photograph these social issues in more detail.

Venue- New Art Exchange

Hazel Simcox

https://www.instagram.com/hazelsimcox/

Space Below My Feet Robert MacFarlane explores the division between reality and imagination in his book ‘Mountains of our Minds’. The reality of undertaking an expedition to summit or traverse a significant natural landmark is elevated in the mind of the individual. The mountain that is visualised commonly fails to match the mountain that is seen. It is this disparity between experience and visual representation that has encouraged this body of work. The images I have created take a fragmented look at the environment, representing the familiar in isolation from the surroundings.  My photographic practice was initiated based on an individual fear of these remote areas, locations that, although perilous, still entice and draw in artists and explorers. These environments deliver both mental and physical challenges. To realise this complexity the camera is used as a tool for comprehension and purpose. Edmund Burke’s theory on the ‘sublime’ scaffolds the origins of this project; the notion of romantic grandeur, intertwined with horror and terror, is never far away.  The contents of my bookcase have become my mountain guide; when deciding what adventure to take on next I turn to the multitude of nature and adventure writers for inspiration. Through delving into their personal encounters they encourage me to visit the landscape and create my own experience. This project follows the words and footsteps of Gwen Moffat, the first British women mountain guide. In times of peril my husband will often turn to me and questions ‘What would Gwen do?’ Her strength has carried me through many moments of fear, but equally allowed me to turn to safety when necessary. This series of images are a reaction to her book ‘Space Below My Feet’, first published in 1961. It examines the individual experience of rural locations, through bringing together photographic imagery and the re-appropriation of the original literature.

Venue- Photo Parlour

Nicola Smith

This project will be lifelong for me because I will always be passionate and grateful for the beauty I see within nature.i have a balance disorder which prevents me from doing everyday activities but the one thing I can do is take photos and capture the beauty in the small simple things that people miss or take for granted like a bee or a butterfly.

Venue- New Art Exchange