Outline: a Photographic Study of Boundaries

6 July 2018 18.00-22.00 (private view), 7 July 2018 10.30-17.30

Out of the Brew arts cafe (downstairs), 306 New Cross Road, London, SE14 6AF

Rachel E Joy Stanley, Jeremy Stokes, Edward Green, Louise Astbury

Facebook event

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Outline is a photographic exhibition featuring work which responds to the notion of everyday boundaries. Four emerging London-based photographers present images which grapple with ideas of control, confines of both an internal and physical nature, and the space between image-maker and viewer. How are our daily actions trivially controlled and how can we use the camera to come to terms with this? How do we internalise rules and how do they affect our photographic practice? The exhibition explores how an awareness of such limitations can lead to liberation from them.

The work will show in the downstairs gallery space at Out of the Brew Arts Cafe in New Cross. The exhibition will open with a private view on Friday 6 July from 18.00-22.00 (all welcome) and is open all day on Saturday 7th between 10.30-17.30.


Rachel E Joy Stanley is a fine-art photographer based in London and the curator of Outline. Her work is concerned with spaces and how we construct, occupy and engage with them. Largely observational, subtly critical and inherently concerned with form and function, Rachel's photographs attempt to organise and make sense of contemporary life, asking questions about power, ownership and the balance between natural and human worlds. rachelstanley.co.uk | @r.ejs

 
Image by Rachel E Joy Stanley

Image by Rachel E Joy Stanley

 

Jeremy Stokes is a photographer who uses the medium of the camera to reflect and capture a visual poetic tapestry. A tapestry of flux, of the light and the dark, of the beauty, and the truth of being. A spiritual pilgrimage of one’s own self, for the souls enrichment towards the light and divine. Photography: meaning from Ancient Greek — the study of light. Let there be light. jeremyjstokes.wordpress.com | @jeremy_john_stokes

Image by Jeremy Stokes

Image by Jeremy Stokes

Edward Green’s socially conscious work, which celebrates banal, beautiful and surreal aspects of public life, has been exhibited in galleries across the capital. In September 2017, he released his debut photo book Never Mind. The book captures the prevailing (un)social behaviour of the city and the weakening affect it can have on the individuals who inhabit it. More recently, Edward’s work has been concerned with understanding identity politics, and a young generation besotted with nostalgia and myth. edwardjuliangreen.tumblr.com | @nedgreen

 
Image by Edward Green

Image by Edward Green

 

Louise Astbury is a writer, photographer and film-maker who is interested in the camera’s ability to navigate the elusive terrain between one’s internal spaces and one’s surroundings. She likens the act of taking a photograph to diving underwater: ‘normal rules no longer apply as you don’t need to breathe because nothing except the immediate image exists’. Her images capture moments of reverie, stillness and reveal the transformative effect light has on everyday scenes. She focuses on these pauses between points of action in her writing and her visual work. flickr.com/photos/128448543@N08 | @lou_moon

Image by Louise Astbury

Image by Louise Astbury


For further information and images please contact Rachel E Joy Stanley at rachelstanley@live.com. For venue information please visit outofthebrewcafe.com or call 020 8265 6740.

Image credit: Louise Astbury

Lens Think Yorkshire Summer Social Hebden Bridge

A social to support creative talent across Yorkshire

L E N S T H I N K Y O R K S H I R E Y A N P R E S T O N

Saturday June 23rd will see the Lens Think summer social and we are going out West, to West Yorkshire that is. We are a bi-monthly social in Yorkshire to meet, share work, ideas, & develop photography in the North. The day will be an informal meet up, a chance to preview Yan Preston’s work ‘Forest’ in a private exhibition tour and book signing in the unique location of 19th century Gibson Mill at Hardcastle Crags. Not only all of that but we also have a National trust one hour tour of the woodland. Come along, have a chat, meet other photographers in the area and hear from Yan Preston about her new body of work. So join us, with other like-minded photographers and creatives. Feel free to bring along friends, this event is family friendly.

The social takes place at Gibson Mill, Hollin Hall, Crimsworth Dean, Hebden Bridge, West Yorkshire, HX7 7AP – and you’re invited to come and take a look at Yan Preston’s work in the heart of the woodland.

Yan Wang Preston is a British-Chinese artist interested in how landscape photography can reveal the hidden complexities behind the surface of physical landscapes. Her major projects include Mother River (2010-14) and Forest (2010-17). Forest won 1st Prize at the 2017 Syngenta Photography Award and monographs of both major works are being published by Hatje Cantz this year.

AS ALWAYS ALL WELCOME!

Contact: Jo Coates | T. 075 33 92 56 38 | e. hello@joannecoates.co.uk | June 23rd 2018| Doors Open 11:00am | Event finishes 5:00pm | Gibson Mill | Hardcastle Crags | Hebden Bridge | HX7 7AP


Facebook Group: https://www.facebook.com/groups/281527135607690/
Event Page: https://www.facebook.com/events/633952096937754/
Instagram Page: https://www.instagram.com/lensthinkyorkshire/
Yan Wang Preston: http://www.yanwangpreston.com/

Introducing Illuminate

Illuminate, a photography organisation aimed at providing a network and a platform to quality photographic practice in Hull. 


Who are you, what's your motto? Illuminate is a photography network based in Hull and East Yorkshire where I am from. It was founded by myself, Verity Adriana, and fellow Hull artist Anna Bean back in 2014 after each of us had spoken at Redeye in Manchester. We agreed that Hull needed a network for the photographic talent that exists there to find support and opportunities. There are photography galleries and clubs in Hull but we felt there was a gap that Illuminate could help with, given our experience in the art world and our teaching experience. 

Image by  Verity Adriana
Image by  Anna Bean

Image by Anna Bean

Have you studied photography? What are your thoughts? I have studied photography at Leeds Arts University at postgraduate level, which was a fantastic experience not only at allowing me to develop my own practice but to seek out opportunities and commissions. It wasn't until I was putting my work in front of people that I became more confident and developed further as an artist. I consider my self a photographic artist and focus on the artistic practice of photography. I have had pieces exhibited in America, Italy, London and Hull and have been published in Lungs, Art Reveal, Yorkshire Art Journal and Guardian Online. I currently work at Coventry University on the Guardian ranked no1 Photography degree in the country as Assistant Lecturer, a job I love!

What is Illuminate? Where did the idea arise from? What has the group achieved so far? Illuminate is a photography network based in Hull that is run by myself, Verity Adriana and was co founded with Anna Bean. We knew there was a gap in the photography scene in Hull for local artists to showcase their talent and provide them with opportunities. Having both worked as lecturers for many years we knew how to nurture talent and help people develop. Once you have learned how to use a camera, what can you do with it? How can you express your ideas or document what you are interested in? We began by putting out a call out in Hull and surrounding areas for people to come and speak at our first event, Illuminate: Speak. We were overwhelmed with applications of all kinds of levels of experience and genre. We ran our first presentation event, where eight Hull based photographer each spoke about their work to a room full of the Illuminate audience. This was so popular that we ran two more events and featured artists such as Graeme Oxby, Rich Wiles, Saskia Blacker and Les Monaghan to name but a handful. Illuminate has showcased the work of various photographic practitioners of international acclaim and hobbyists alike; we are particularly interested in artists that show a sophistication of ideas and development as well as technical ability. 

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Tell us more about Project Legacy 2018 and your successful funding bid. From there I wrote a project based on an idea Anna had seen work for another organisation, where we would commission two artists as well as ourselves, to produce a body of work that investigates the legacy of the City of Culture post 2017 in Hull. We put another call out in on social media and selected two artists called Anete Soda and Karim Skalli, (both Hull based and photography graduates), whose proposals we felt were the most interesting in how they would explore the idea of the impact of the city of culture in Hull's makers, public,  artists, venues, spaces and places, businesses and developments. It is obviously very early to really understand the full potential of the legacy however this project will be interesting in how it can explore the early days, and in a way is becoming part of the legacy itself, by continuing to explore and produce art in Hull that is about the city.

Images by  Karim Skalli

Images by Karim Skalli

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We are passionate about paying artists, rather than expecting that they work for free or for 'exposure'. So I put together a successful funding bid sent to Hull City Council, and we can now pay each artist a small fee to make the work. I will be looking at other sources of funding also, as we will need further resources when it comes to production and exhibition time! 

Can people get involved with what you are doing? If so, how? Absolutely, we plan on having public events, discussions and engagement. So far the project is in its infancy, or development phase, so as we build and progress what we are doing we are putting out a series of posts online across the website and social media, introducing each artist and their ideas and practice. I would encourage everyone to follow us, not only to see who we are and what we are doing, but how they can engage with future events and contribute to the project.

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Images by  Anete Sooda

Images by Anete Sooda

What does the group have planned for the future? For the immediate future we plan on each artist developing our projects, researching and making images. I am deep in the research stages, and have been lucky enough to speak to city planners, historians, artists and even the mayor in Londonderry, the previous hosts of City of Culture - as well as reading up on culture, arts and photographic practice in culture. As a group we will be producing resolved works by December and plan to exhibit in spring 2019 in Hull. I have also contacted the Culture team in Coventry so that potentially the exhibition could travel. I also want to find further funding for us to help us produce and exhibit. We have further plans for exhibition time, but for now they are secret and will be announced nearer the time!


Find out more about Illuminate here
@illuminatehull
www.illuminatehull.org

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The Gatekeepers (work in progress) by Alex Ingram

The University of The West of England, Bristol graduate Alex Ingram was featured on Photograd previously with his series David's House. The series was published into a photobook in 2016 and Alex is now working in a new series of work, The Gatekeepers, which featured in the first edition of our zine, PGZ129, released earlier this year.

We introduce you here to images from The Gatekeepers which is currently a work in progress as Alex continues to return to the islands to make more images.


Scattered across the small islands surrounding the UK live lone wardens, spending their lives in quiet solidarity, away from the crowded, overpopulated landscapes of our urban world. Their role: to maintain and manage the preservation of their islands natural beauty and wildlife for future generations, whilst conducting research into these incredibly delicate ecosystems.

With limited access to the mainland during the winter months, no fresh running water, and under constant attack from harsh storms and perilous currents that can see them marooned for weeks at a time, it is not a role many are suited for.

What is it like living so close to the mainland, but yet so far removed from social norms? How do they cope when the currents are too strong to make it back over for fresh food and supplies? What is it like living without the modern day technologies that we take for granted? And how do they adapt and overcome these daily obstacles with limited human contact?

Over the next two years, these are the questions I want to explore. I will be visiting these remote islands and spending time with the wardens that have chosen to spend their lives there, in the hopes of better understanding what life is like living in some of the most beautiful, yet inhospitable landscapes in the UK.

In a world that is changing at a rapid pace, I want to question how this simplistic way of life fits within our modern world. 

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All images from the series  The Gatekeepers

All images from the series The Gatekeepers

Revolv presents One Year photography exhibition at Safehouse 1 in London

 
Image by Koral Markovich

Image by Koral Markovich

Image by Veronica Viacava

Image by Veronica Viacava

Preview: Thurs 28th June 2018, 6.00 pm – 9.00 pm
Exhibition: Fri 29th – Sat 30th June, 10.00 am – 6.00 pm
Sun 1st July, 10.00 am – 4.00 pm
Venue: Safehouse 1, 139 Copeland Road, Peckham, London, SE15 3SN

The photography organisation Revolv Collective is celebrating its first anniversary with the One Year exhibition at Safehouse 1 in South East London, from Thursday 28th June to Sunday 1st July 2018.

To discover unseen digital, analogue and alternative photography, an open call went out to non-professional photographers, art graduates and current BA and MA students to submit a single image and contextual information.

The result is a stunning and varied collection by 77 photographers from 13 countries. On the opening evening, Revolv will officially launch an app, which will be an essential part of the interactive experience of the show. Another feature of this exhibition will be a Google Chrome Extension, where all the winning and shortlisted images will be included.

Joint statement by Revolv: “Our four-day One Year exhibition features beautiful and thought-provoking photographs by incredible talents from the UK and around the world, both previous Revolv contributors and many new to the platform. Tackling an array of important contemporary subject matters, via a diverse range of photographic styles and techniques, it is a fitting celebration of our mission: to provide greater exposure and opportunities for emerging photographers.”

At the preview on the Thursday, the founders of Revolv will reflect on the successes and challenges faced in the past year. Guests will also receive an insight into the selection of the images on show and find out about the Collective’s exciting upcoming plans.

During the main show, from Friday to Sunday, exhibiting artists are invited to bring additional works to spark open informal discussions. Members of the public, and prospective future Revolv contributors, are encouraged to come along and get involved and take part in our exhibition.

'The Clearing' by Chris Younger at Durham's newest arts festival - 4th – 17th June

ART DURHAM is a new and vibrant visual arts festival jointly organised by Durham University and Durham County Council. Along with Durham Festival of the Arts and DJazz, ART DURHAM celebrates Durham’s music, theatre and visual arts scene with exhibitions, events and workshops across the city throughout June.

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Durham based photographer Chris Younger will be taking over an empty retail store in the heart of Durham city centre with his new exhibition The Clearing. Younger invites us to consider the experience of being human. The Clearing is a space where we can reflect on our sense of self, ideas, and experiences. In The Clearing we build our understanding of ourselves, others and the world.

Image from the series  The Clearing  by Chris Younger

Image from the series The Clearing by Chris Younger

The Clearing began as a response to the difficulties the artist felt in talking about his photography to others. This developed into an exploration of deeper anxieties regarding integrity, authenticity and self.

The Clearing draws inspiration from the work of German philosopher Martin Heidegger. Most influentially his notion of our anxieties arising from the conflict of being in the world and being with others.

The exhibition runs from 4th – 17th June in the Prince Bishops Shopping Centre, located on Durham’s historic peninsula, only a few minutes walk from Durham Cathedral. Entry is free.


Chris Younger (b. 1981, Newcastle) is an artist, photographer and filmmaker living in rural Durham, UK. He recently completed a Masters degree (with distinction) in Photography at the University of Sunderland and is currently artist-in-residence at Durham University's Josephine Butler College.

He uses landscape photography to explore the interactions between people, places and nature over time. His highly autobiographical work analyses formal notions of landscape through the filter of his own experiences.

We have prints from The Clearing available in the Photograd Shop!

Loupe Magazine issue 7

We’ve created a Fellowship with Loupe Magazine and will be bringing you news of brand new issues when they're released. Issue 7 has just landed and includes an interview with Matthew Genitempo who was selected as the winner of our recent collaborative call for work.

You can find a list of local stockists here but if you'd like to subscribe, Loupe are currently offering 20% off subscriptions made before 1st July!


Issue 7 of Loupe is out now! If you are quick copies available for free from our amazing stockists.

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Sticking with our theme of no theme, this issue contains our most diverse range of projects yet. It’s a real celebration of the varied styles in contemporary photography.

Matthew Genitempo won the Loupe x Photograd competition with his project Jasper, a poetic documentation of the Ozark Mountains of Arkansas, and the men who live there. We loved the work so much we decided to put it on the cover.

Image from the series  Jasper  by  Matthew Genitempo

Image from the series Jasper by Matthew Genitempo

Final year student Ema Johnston is featured with her fresh take on the much explored topic of drag, accompanied by Sarah Goad’s words.

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Our online editor Harry Flook talked to Jack Fleming about his new body of work, Punching, which focusses on amateur boxing in Bristol and Brighton.

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Also featured is Lewis Bush’s Shadows of the State alongside an interview with Museum of London curator Anna Sparham and our other regular features.

If you can’t make it to stockist single copies, back issues and annual subscriptions are also available to purchase from our online store.

We hope you enjoy the issue!

Zine & Photobook Fair 2018

Open Eye Gallery are currently calling for zines and photobooks

Submissions to charlotte.t@openeye.org.uk - deadline Monday 11th June.


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30 JUNE / FREE / 11AM – 4PM

Join Zine-makers, publishers and photographers for a free all-day celebration of rare, hand made and self published books, journals and zines from the North West and beyond. The event will be held on Saturday 30 June from 11am – 4pm in the bright, covered Mann Island atrium space outside of the gallery. This will be a free event open to established publishers and enthusiasts alike and will be a great opportunity to meet with both local and established artists in the publishing community.

To submit, or for more information, get in touch by emailing charlotte.t@openeye.org.uk with “Submission Zine & Photobook Fair” in the email subject. Please make sure to include a PDF of your publication along with a brief text for each book/print including:

  • Contact details
  • Front cover image
  • Content preview
  • Summary/description of work
  • Publication dimensions
  • Number of copies available
  • Retail and trade prices
  • Whether you plan to attend the fair as a seller

Due to the limited space, we may not be able to include all submitted work. To avoid disappointment, please get in touch before Monday 11 June and we will get back to successful applicants by Monday 18 June, when then selection process is complete.

Good luck and let us know if you're making a submission!

More details can be found here.

The second edition of PGZ - open to submissions!

Calling 2018 photography graduates. This one's open to you!


We're looking for 11 photography graduates from UK university courses to be part of the second edition of our zine, PGZ, which will launch Summer 2018.

To submit, email a series of work, 100 word description, university, and website to photograd2018@gmail.com only with the subject 'ZINE'.
Submission deadline: 11th July. Open to 2018 photography graduates from UK courses only.

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A big thank you goes to Spectrum for helping us to bring the second edition of PGZ to life.

Calling 2018 Photography Graduates

We want your work!

We’re looking to reward 2 photography graduates with an interview on the Photograd Spotlight and 1 graduate with an extended Instagram Takeover.

To submit, email a series of work, description, university, and website to photograd2018@gmail.com.
Submission deadline: 13th June. Open to 2018 photography graduates from UK courses only.

Image from the series  Utö  by Swansea College of Art - UWTSD 2018 graduate  Jasmine Färling

Image from the series Utö by Swansea College of Art - UWTSD 2018 graduate Jasmine Färling

Alexander Mourant - press preview at Hauser & Wirth, London

Falmouth University graduate and featured photographer Alexander Mourant attended a press preview of August Sander. Men Without Masks and Spiegelgasse (Mirror Alley) at Hauser & Wirth in London on behalf of Photograd. Here are some images from his visit.

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Photograd at PhotoEast 2018

A Photograd exhibition | Opening Thursday 24th May 2018 as part of PhotoEast

A selection of the Photograd community come together for PhotoEast 2018 to present work around the festival’s theme of Belonging | On display in the University of Suffolk’s Waterfront Building from 6pm Thursday 24th May - 6pm Sunday 24th June.

The Ipswich waterfront will be home to photographers who explore the theme of belonging in their work and Photograd featured graduates have come together to join in with the celebrations.

A collective of 12 photographers are representing Photograd and honouring the theme of Belonging at PhotoEast's second festival. Having been given one long wall in the universities Waterfront Building, Photograd have curated a varying sequence of work that is bound by these similar themes and attitudes. Differing print sizes entice the viewer to migrate through the space to view work at their own pace.

Digital copies of the full catalogue accompanying the Photograd exhibition can be found in our shop.


Each of the photographers in this exhibition have defined and secured the theme of Belonging in distinctive ways.

Norwich University of the Arts graduate Karim Skalli explores his identity and mixed cultural heritage though a series of photographs from which this image belongs. “As the son of an English mother and Moroccan father, the project attempts to show the coming together of cultures, the conflicts and juxtaposition created through merging English and Moroccan culture and the influence of this on my identity. The work ponders my western outsider gaze, my ‘cast on’ view of my father’s homeland whilst at the same time acknowledging my own sense of never being fully British.”

Image from the series  Third Space  by  Karim Skalli

Image from the series Third Space by Karim Skalli

Newport University graduate Declan Connolly was part of the first Photograd exhibition in 2017 and continues to support, and be supported by, our community. “Becoming an Island addresses the themes of an isolated United Kingdom in the form of manipulated pebbles collected from its shores. Each image is a composite of a pebble photographed and re-photographed in various stages of physical erasure. Reflecting the audience's relationship with current Brexit negotiations, the work can be viewed as a series of coexisting and united objects or the immediate decline of a singular entity.”

Image from the series  Becoming an Island  by  Declan Connolly

Image from the series Becoming an Island by Declan Connolly

Tom Owens studied at the University of Suffolk itself and graduated in 2014. Tom has continued to push his work since finishing his studies and presents here a new series, Estuarine Mud.

"This series is an extension of my successful Edgelands series. I repeatedly visit the same locations when making my work and it was a return visit to the source of my Edgelands project brought about by radical reshaping of the derelict factories at Cattawade to ready the site for a new railway depot that brought the creek at Cattawade into sharp focus. The series is shot from both sides of the Stour Estuary but only at dead low water on spring tides and with little or no wind. Most of the images are very early morning or just before sundown."

Cattawade Creek  from the series  Estuarine Mud  by  Tom Owens

Cattawade Creek from the series Estuarine Mud by Tom Owens

The exhibition can be seen at the University of Suffolk’s Waterfront Building until Sunday 24th June before it makes its way to Norwich.
University of Suffolk, Waterfront Building.
IP4 1QJ

www.suffolktouristguide.com

Gökhan Tanriöver, debut solo show at Argentea Gallery. 18th May – 30th June 2018

Argentea Gallery
Confessionals
Gökhan Tanriöver
18th May – 30th June 2018
Opening: Thursday 17th May, 6-8pm

Images from the series  Confessionals

Images from the series Confessionals

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Argentea Gallery is pleased to present the first solo exhibition of Gökhan Tanriöver’s Confessionals.

Comprising a series of black and white still life photographs, Confessionals is based on specific childhood experiences. Guided by Annette Kuhn’s process of ‘memory work’, a method and practice of unearthing and making public untold stories, Tanriöver’s personal memories are made tangible through the photograph. Each experience is first presented as a written confession from which an image is then constructed and the combination of image and text weaves a poignant autobiographical narrative.

This singularity of intent about the work, the public exposure of private experiences, is shown through the use of black and white. By removing the potential distraction of colour, Tanriöver has created images that are the embodiment of contrary forces. Black, being visually heavy and associated with power, authority and evil, is starkly contrasted with white, a colour that projects purity and salvation and is synonymous with new beginnings. Working with analogue, the studio and the darkroom are the physical space where Tanriöver’s meditative state acts as a form of autotherapy. This process has allowed him to produce images where these opposing forces of black and white don’t compete, but rather complement each other to communicate more effectively ideas of opposition and comparison, association and acceptance.

By offering his own emotional and psychological life as art, Tanriöver invites the viewer to share in his meditations on sorrow and remembrance.

Gokhan Tanriover is a Turkish-born photographic artist living in London. Following a brief medical career, he realised his vocation lay in visual culture. Drawing on his training as a junior psychiatrist his work consists of constructed imagery that focuses on personal and cultural identity informed by personal experience and memory.

After completing his BA (Hons) Photographic Art (2017) from the University of Westminster he has been shortlisted for the Peaches and Cream photography competition (2017) and selected as a finalist in the Royal Photographic Society International Photography Exhibition 160. His work has been included in 18 group exhibitions including Separation and Belonging that he co-curated as part of the Whitechapel Gallery’s First Thursday tour in May 2016. In 2017 he was chosen to participate in the Travers Smith CSR Art programme.

Fiona Filipidis - To make a prairie

For the duration of March we were seeking work from photography graduates alongside Loupe Magazine to reward with a collection of prizes and interviews. A lot of time was spent looking through the submissions and decisions were finally made. Here we present you with our final runner-up!

Fiona Filipidis was born in Paris and later studied for a BA in Photography in France before moving to study for an MA at London College of Communication. We've interviewed Fiona here about the series To make a prairie.


To make a prairie it takes a clover and one bee,
One clover, and a bee,
And revery.
The revery alone will do,
If bees are few.

Emily Dickinson

Will revery alone really do if bees are few? As much as I love to daydream, I’m afraid the answer is a resounding, gut-wrenching ‘NO’. Bees are crucial to the continuation of human life. But our impact on the environment through the misuse of insecticides, added to the proliferation of pests and diseases and loss of habitat, is threatening the survival of this mighty insect. When bees have access to good nutrition, so do we – you can thank them for one in three bites of food you eat – and yet every batch of pollen has at least six pesticides in it.

From poetry to politics, religion to architecture, the honey bee has managed to waggle-dance itself into every nook and cranny of the human world. Our relationship with the bee is one that spans thousands of years, and I have attempted to synthesise it in one single book.

From the series  To make a prairie

From the series To make a prairie

I divided this book into 6 chapters, each one edited in a specific way: a piece of writing is preceded by a full-page image and followed by a selection of images in relation to the text. The full-page images are of the stormy skies that descended over London on 16th October 2017, when hurricane Ophelia made her way to our shores. All I could hear and read at the time was “It’s the end of the world!” and I couldn’t help but find a parallel with what could potentially happen if bees were to become extinct. The texts are a mix of personal life experiences and detailed knowledge about the honey bee and its history in relation to us.

The imagery is a mix of found artefacts and my own photographs. Mingling the past with the present is my way of showing our constant and ever-growing relationship with the honey bee. My hope is that there is something for everyone in this book; if a teenager were to pick it up and see a photo of Beyoncé, I would love for it to peak their curiosity and push them to do a little bit of digging.

This project is more relevant now than ever. Every day, news articles emerge with ever-growing alarming headlines about bees and insects in general. We humans hold the fate of the wee honey bee in our millions of hands. By some unimaginable, intangible natural power, we have been given the gift of life, and it is our duty to make sure all living entities that share our cosmos continue on the path they were meant to take.

From the series  To make a prairie

From the series To make a prairie

Can you introduce yourself? What and where did you study? What's your motto? I am a 28 year-old multicultural photographer who grew up in the leafy suburbs of Paris, France. My dad is half-French, half-Greek and my mum is half-English, half-Scottish. I have Portuguese relatives and grew up surrounded by friends from all over the globe, which I feel all greatly contributed to my openness and curiosity for the world. 

I studied for a BA in Photography in Paris before moving to the UK to pursue an MA in Photojournalism and Documentary Photography at London College of Communication, from which I graduated this past January. 

I have never had to think about a motto before, but maybe “laughter is the best medicine”! I love a good chuckle. 

From the photobook  To make a prairie

From the photobook To make a prairie

Give us an overview of your work. What themes do you like to explore? My most recent projects are all related to nature and the environment in one way or another. Prior to To make a prairie, I was working on an image/text concept book called El Dorado which deals with the notion of gold in its broadest of meanings, whether it be physical or purely metaphorical, and What do you want to be when you grow up? which portrays our desire to reconnect with nature through a humorous, albeit slightly strange, depiction of my fantasized mother/daughter relationship with Phoebe, my favourite houseplant.

I always try to add an element of humour or levity to my projects and my writing, as I have come to realise that it helps people react to and interact with my work on a different level. I believe that you don’t always have to show the negative aspects of any given situation in order to bring awareness to it. I find the idea of talking about important issues contrasted with an underlying light-hearted tone to be a very interesting one that I would love to push further.

I recently came across an article written by Tim Davis on photogeliophobia, or the fear of funny photography, in which he states that, “The history of photography’s overall overseriousness starts to feel like a first date that can’t laugh at the ketchup he’s spilled in his lap.” And the combination of spilt ketchup and the noise the bottle makes while doing so is more often than not quite amusing.

From the series  To make a prairie

From the series To make a prairie

What encouraged you to submit to the Loupe Magazine and Photograd call for work? Have you got any tips for photographers submitting work for similar opportunities? Getting your work out there is the tricky part upon graduating, as you want to use the momentum you’ve gathered throughout the year to propel you and keep pushing for your work to be seen. Photograd is the ideal platform to start, as you’re only a graduate once (or twice). I have been following the website for years now and have always been amazed by the quality of the photographic projects you choose to publish, and feel humbled to be in such great company. I am also excited whenever I come across new platforms such as Loupe Magazine, as I believe there can never be enough websites and magazines to showcase emerging talent. So the combination of both seemed perfect!

My main piece of advice would be to keep applying to calls and competitions, even if the constant rejections can cause you to lose hope (which I have lost on many occasions, but keeps returning again and again). I find being organised to also be very useful; I have monthly lists organised by closing dates on my desktop so that I know when I need to apply for calls, residencies, competitions, grants, and what to send.

From the photobook  To make a prairie

From the photobook To make a prairie

How did this series come to the surface? Why did you decide to make work around our relationship with bees? It was all very coincidental, really, as most projects usually are! I was chatting with one of my tutors from LCC, Morag Livingstone, about what I could work on next when she, quite bluntly, asked me, “What pisses you off and what brings you joy?”. I realised there and then that a natural theme underlined all of my answers, and she saw my eyes light up when I told her about hives being kept on rooftops in the middle of Paris. I had also, like many other people, received dozens of email petitions to “Save the Bees” but had never given them much thought. And I had been struck by a photograph that was doing the rounds on Facebook at the time, showing what the fruit and veg aisle of a supermarket would look like if bees were to become extinct. So I started my research and within a couple of days that was it, I was hooked, all I could think of were bees, bees, bees. In my book, I quote British beekeeper R. O. B. Manley who defines bee fever as “a form of insanity from which you never really recover”, and to my great delight I think I’ve caught the bug, too. 

From the photobook  To make a prairie

From the photobook To make a prairie

The outcome of To make a prairie is a photobook. Describe your book and particular layout of images. I divided To make a prairie into 6 chapters, each edited in a specific way: a piece of writing is preceded by a full-page image and followed by a selection of images in relation to the text. The full-page images are of the stormy skies that descended over London last October, when hurricane Ophelia made her way over here and people kept saying that it felt like the end of the world; I couldn’t help but find a parallel with what could potentially happen if bees were to become extinct. The texts are a mix of personal life experiences and detailed knowledge about the honey bee and its history in relation to us. And the pictures are a mix of found archival imagery and my own photographs. The image pairings are often comical and bounce off one another as I wanted to constantly excite the reader’s eye and not let it become accustomed to one type of image. My hope is that there is something for everyone in this book; if a teenager were to pick it up and see a photo of Beyoncé, I would love for it to pique their curiosity and push them to do a little bit of digging. As for the cover, the bee drawing was created by my cousin’s 5-year-old daughter, Caitlin. 

Was it important that you executed this work in the form of a photobook? Yes, I knew from the start that the final form of this project would be a book. I am an avid photobook reader, collector and admirer. I spend a good amount of time looking at sequencing, layouts, papers, binding techniques and feel genuine joy when I come across a book which excites both my eyes and my fingers! I had always wanted to make a book from start to finish, from the image making to the editing to the design of it, and saw this project as the perfect opportunity to do so. 

From the series  To make a prairie

From the series To make a prairie

What are your future plans? I am currently trying to publish, or self-publish, To make a prairie, as well as working on a zine about a trip I took to California in February. In about a month’s time I will be doing a 3-week artist residency in northern Italy with Ardesia Projects and Jest, a photography gallery in Turin, which I am very excited about. And I will forever be working on researching bees in order to fully live up to my “bee-lady” image!