Beth Swift

https://www.instagram.com/burntphotobeth/

For a long time now I have photographed trees.  They are beautiful and hold a mystery and power that is universal wherever you go. Especially woods, there is a sense of peace and calm in a wood. I try to capture this in the photographs I take and am beginning a project where I investigate how we reflect upon our relationship with trees. There are many beautiful examples of this in literature and folk law and it is this area I will concentrate on.  In folk law trees are symbolic and often have different meanings depending on the type of tree, the month it produces fruit or where it grows and its characteristics . We can relate to these these things and find connections in our everyday lives. The images I have submitted are a  simple selection of my work as part of my research. 

Venue- New Art Exchange

Luke Tarpey

https://www.instagram.com/luke_tarpey/

Photograph of Television static, distressed negative hand printed in colour darkroom (The Photo Parlour, Nottingham), made into a slide and then distressed and scanned.  My Work is concerned with media and it’s effects on society; from the phonetic alphabet to the computer, the change that is brought about by the shift in our sensory ratios after the introduction of any new media dictates our pattern of involvement in the new environment that media creates.   It Speaks and yet says Nothing is a physical representation of the idea of the medium as the message, or the content of the medium means little compared to the affect the medium itself has on society. This series focuses on the Television.  “But soft! what light through yonder window breaks?/It speaks, and yet says nothing.” An apt description of TV Marshall McLuhan, Understanding Media.

Venue- Carousel

Priscilla Toy

https://www.instagram.com/priscilla.maurer/

Eking Out  To “eke out”,  to make (a living) or support (existence) laboriously: They managed to eke out a living by farming a small piece of land.  This set of images is spread over two different roles of 35mm colour film. They were all taken over the last 19 months, after a difficult break-up from an abusive and (at times, mutually) toxic relationship of almost 3 years, resulted in my having a mental breakdown on January 30th, 2018.  They were taken during a time of severe mental and emotional turmoil (the effects of which are still very much present and active in my daily life — anxiety, depression, trauma and suicide), as well as frequent moving from place-to-place while I searched for a home-base to start my healing process.  The work offers an honest insight into a world darkened by mental health issues, but also one searching for hope, while struggling to balance the cultural and social demands of living. They’re an exploration of emotion, connections with others and my surroundings, and an attempt at understanding how and what my suffering mind tries to distract and soothe itself with when things are very intense or overwhelming.  The photos served as an emotional outlet for me during all of this. They were a release for my mind and creative soul. I wanted to shoot anything that caught my eye or interest, and focus on the act of taking the photograph itself rather than the almost ever-present, intrusive thoughts borne from trauma. These thoughts are very difficult to grapple with, and they often trigger or lead to suicidal thoughts.   The images depict a few different things:   My state-of-mind as I await access to long-term therapy and mental health support services, as well as what my experience of living and trying to cope with poor mental health is like. They also depict what I was doing (consciously or subconsciously) to “escape” my mental health issues over this period of time — places I went with my new partner, intimate moments at home, contemplating and studying anything around me. The photos reflect my personal and internal struggles, exhibited in the imperfections contained within each. The mistakes in them, such as dust and scratches on the negatives (usually removed before exhibition) remain; their flaws out-in-the-open. This can be said to directly relate to my life in general — a reference to the personal issues which have surfaced and which I am no longer capable of hiding. Subjects are out-of-focus due to the almost constant handshake, caused by anxiety. Almost every face is either turned away from me or obscured in some way. Angles in some photos are skewed.   Further to this point, is the sense of tension in almost every portrait or image of my partner. He frequently struggles between his desire to help and support me, and maintaining his own self-care (mostly in the form of having time to himself); resulting in my frequent searches for ways to spend any time I can with him. I have also taken a passive role in these photographs, as although I am present in them, I am not really “visible”. Distancing my mental-self from my physical-self is a common tactic I use for coping (often manifesting in the form of dissociation). This illustrates my lack of a sense of identity and frustrations with personality flaws, my lack of confidence and self-worth, and my struggle to accept my body or love myself.   This is an on-going personal project.

Venue- Backlit

Chris Underwood

https://www.instagram.com/faceiro.co.uk/

International Photographer – studio and location. This can be creative environments, or natural working situations. I’m a contributing photographer for Getty Images and also supply my images as large scale prints for offices. I undertaking commercial projects anywhere around the world. I thoroughly enjoy travelling and meeting new people and creating my own style of images for clients.  My assisting days started with two photographers based in Nottingham. This time was spent working on commercial project and working in the black & white darkroom. I later moved to London and worked with Tim Flach, the world renowned animal art photographer. This was a remarkable period, as I was able to work with Tim of many creative high end agency projects, his personal creations and his commercial client work. This shaped the way I think about my projects and my client work, and has been an immense influence. I then progressed to establishing myself under the name Faceiro*.  I enjoy photographing what I find interesting and creatively challenging. I’m best known for the originality that I bring to capturing the essence of portraits.  *Faceiro – my capoeira nickname and you can normally find me training capoeira at Cordão de Ouro group in Nottingham, and with capoeira groups when I travel. 

Venue- Rough Trade

Gabriel Van Ingen

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

SEA 8, 2019 explores my desire to find reconciliation between our relationship with the sea and a sense of disconnection between the longing towards a mythological and poetic view of the sea and a growing understanding of the environmental impact of human-induced environmental change and the strategic appropriation of our oceans.  Philip Steinberg suggests that, if we wish to appreciate the ocean fully, we need to engage with its material, dynamic and aqueous nature, with its creatures and flora, as well as its political and economic role and connections and its poetic and metaphorical role in human culture. Against this backdrop this project explores the nature and meaning of ‘the sea’ by considering the experience of emotional, behavioural, psychological and physical connections that keep humans so enchanted with water whilst considering the historic appropriation and militarisation of the seas and the toxic legacy left behind by years of waste disposal in our oceans.  The viewer is left to reconcile their own relationship to the sea and to consider how we can come to understand and engage more with ocean conservation and gain a deeper understanding of our oceans as being contested zones as well as symbolic poetic spaces.

Venue- Rough Trade

Lee Walker

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

Fairs come, fairs go. They are fleeting; they are temporary. There are only a few short days in the childhood calendar when you can visit the fair. A mundane Autumn suddenly comes alive with the deafening music, the flashing lights, the adrenalin, the smell of diesel and fried onions and the money in your pocket dwindling by the second. I was fascinated by fairs as a child, and I suppose I still am. I am drawn to them, and now I photograph them.    This particular project has developed over the last three years, as I focused on a single fairground ride, called The Super Skid. This ride was my favourite ride as a child. It’s owned by Jimmy Bowry, a showman based in Surrey and was originally built in 1933.   My work contrasts completely with my memories and experiences as a child – when it is sleepy, silent and deserted, long before it opens for business. This period is unsettling, empty, lonely and still. You see the fair in a new light.  I photograph the fair in black and white using a medium format film camera.

Venue- New Art Exchange

Ayden Walters

https://www.instagram.com/ningenmusic/

A photo can take us to a moment in time that, without context, becomes something else in our mind. This is a collection of photographs from many different times and places, linked by an emotional ambiguity. Each photograph in this series has been hand printed in a traditional dark room, but without the use of an easel. This results in borderless photos, that occasionally reveal the edges of the film strip.   While creating this series I have been returning to work that I haven’t looked closely at since its original creation. Looking back, I’ve seen new connections and potential in photos that were otherwise orphaned as negatives. The printing technique I have been using encourages a more intuitive and playful attitude towards these photos. This has helped me find new meaning in photographs that previously lived on the fringes of my memory.  Although born in Nottingham, I have lived  in both Japan and The Netherlands  and this has influenced my work. Inspiration for this series include the photographer Daido Moriyama and the British Critical theorist Mark Fisher.   

Venue- Carousel

Lois Webb

https://www.instagram.com/serendipity_lois/

Kashgar is the western most city in the Tarim basin of the Xinjiang Uyghur Autonomous Region of the People’s Republic of China surrounded by mountains to the west and north and the Taklimakan desert to the east and south. It is situated close to the Kyrgyzstan, Afghanistan and Pakistan borders. For centuries the city was a major trading post along the silk road and is still a unique blending of cultures. It has a rich and vibrant history, with ancient bazaars, alleys, houses and streets and the old city is known to be the best preserved example of a traditional Islamic architecture to be found anywhere in Central Asia.   The city and surrounding area is populated mainly by Uyghurs who are the descendants of ancient Turkic tribes and Caucasian inhabitants of Tarim basin. It is a great shame, and loss to world heritage, that City of Kashgar, the ancient trading post of the Silk Route, is being systematically erased off the map by the Chinese government. In 2009 work began to redevelop the majority of the Old City of Kashgar and construct new buildings in its place. With this selection of images I hope to illustrate wealth of culture contained in this amazing place and the tradition of the vibrant livestock market. These images aspire to promote the need to retain Kashgar as it is today before it is lost forever.  I am a passionate photographer who focuses on documentary and street photography creating images with stories to tell.

Venue- New Art Exchange

Danielle Whelborne

www.instagram.com/meraki.creations__/ 

I have been learning photography over the past year as a hobby and instantly fell in love with portrait photography – I love to capture an individuals characteristics, emotions and features. The women in this series are people that I have met briefly but shared a common interest in photography with or that have provided me with a deeper knowledge and understanding. All of which have inspired my journey in some way and I wanted to celebrate this through a series of portraits. 

Venue- St. Peters Church

Corin Wilkinson

https://www.instagram.com/corrin_wilkinson/

My background in photography is commercial based, I have a love for food imagery and a passion for still life. I created this series over a 3-month time period in response to a university brief in photography which I graduated with first. It was originally a series about the rising temperatures of our seas but when I started my research, I discovered there isn’t just one clear reason. I wanted to create something showing this so over a 3 month period at the beginning of the year, I researched, micro plastics and how it’s in everything we eat (marine based) The corruption in the sushi industry and the slave trades caused by it, over fishing and price fixing in the lobster trades considering its a cheap item, its sold as a luxury item. Pollution and single use plastics, although public aware it’s still a huge issue that’s not getting sorted as fast as it should be.  I wanted to create a series that was workable as a social media entity. I felt the love of food imagery always goes back to the likability of a shot on such platforms as Instagram and Facebook. No one reads flyers on environmental issues as they much prefer social media. I wanted to sort of infiltrate this world and shoot an advert style set of images in hopes to momentarily show the problems at hand in a gentler capacity.  My work submitted here for off centre, even though created with social media in mind, it was also created with the mind set of being used as an end of year exhibition piece. I also created it to look consistent so It would work well together as a set of images but would also stand up as standalone images in their own right.

Venue : Broadway

Billy Williams

@billyryanwill

@iambillwill

I’m a photographer and developer who lives in Beeston, Nottingham. ‘The places we thought we knew’ is my first extended photo essay and was brought about in two ways. Firstly, the polarising political and economic climate we find ourselves in is causing us to reassess what identity within places means. My first aim with this project is to use British towns from all across the country to show the state of the country in its most typical form. This led me away from it being about people or places, but often about areas which are lived in. But I aim to do this in a non political way, Secondly, this project is my way of documenting this period of life within the UK, to show how this polarised climate is coexisting within different areas of the country in similar and different ways. 

Venue : New Art Exchange

Louise Wiseman

www.louisewisemanphotography.com (under contstruction)

@wiseman.louise

I’ve always been drawn to the messages people feel moved to leave in public spaces; what they say, how and where they choose to say it, and what they might mean.  This is part of an ongoing project I’ve been working on since approx 2017, photographing messages I come across on my travels that I find both visually appealing and intriguing.

Venue St Peters Church

Gill Hartley

Gill was born in Doncaster, South Yorkshire and moved to Nottingham. After a career as a Legal Secretary and a Nursery Teacher, she has recently taken up photography. Gill developed an interest in photography from her father and recently borrowed her husband’s SLR camera. She says that ‘when I am taking photographs, I get a ‘buzz’ and feel creative’.