LSBU BA PHOTOGRAPHY 2010 by Christopher Kamper

LSBU ba Photography 2010

foreword

View from the mezzanine

in a hand basket. And what is the role of the

tion of circumstances and limitations. Howev-

‘old’ and ‘new’ media in all of this? What is the

er, despite the diversity of the works on show

role of images whether visual, aural or sensual

it is possible to identify some of the strategies

in the destruction of the grand-narratives and

employed here to question the role of photog-

the failure of modernist projects?

raphy in the post-digital age. Central to those

What is being problematised by the works

is the refusal to fetishise photography as a

Sidestepping the question whether uncertain

in this catalogue and in the associated exhibi-

technology of representation and the rejection

times are good for art or not, what happens

tion is the act of representation itself, and the

of the privileged position of the artist as the

when emotions such as anxiety and anger,

ability of the euphemistically called “informa-

sole creator of works of art. Instead, as Nigel

confusion and despair take precedence over

tion age” to do justice to the questions arising

Thrift suggested, photography is treated here

the more acceptable, sterile concerns of the

out of the big issues of the day, which are nev-

as a set of socially organised rituals through

rational mind and call their bluff? Is it at all

er too far away from our own, everyday exist-

which we understand and appreciate the en-

possible to think the present moment without

ence. The vocabulary of the credit crunch and

vironment. Another strategy is the rejection

taking into account the peculiar amalgam of

climate change is mixed here with questions

of the aesthetic values that require a work of

communication networks, cloud computing,

of self-alienation, racial discrimination and so-

art to respond to the question “what does it

data arrays and media platforms that serve

cial immobility. For this group of artists, pho-

mean?” in a concise and unambiguous way.

us continuous mash-up of breakthroughs in

tography is not about the tired and no longer

By refusing to make sense, to confirm to the

science and technology interlaced with man-

applicable (if they ever were) modernist con-

accepted paradigms of ‘normative’ and ‘trans-

made and natural disasters in a way which ef-

ventions of “representing space” or “freezing

gressive’ art, the works in this show help us

fortlessly combines bankers bonuses with cuts

time”, instead their work suggests that pho-

recognise that much of human life is lived in a

in education, medical triumphs with genocide

tography is about a precariously vibrating mo-

non-cognitive world.

and freedom of information with surveillance

ment, not the representation of a homogenous

and data mining, while at the same time main-

surface but an assemblage of intensities.

taining on the one hand that we never had it so

good and on the other that we are going to hell

this is both a statement of intent and a reflec-

“Art need not defend itself against the rebuke that it is degenerate; art meets this rebuke by refusing to affirm the miserable course of the world as the iron law of nature.” Theodor Adorno: Aesthetic Theory

Daniel Rubinstein

The creation of a group exhibition such as

contents

Foreword. . . . . . . . . . . . . . . . . . . . . . . . 4

Evi Kemmler. . . . . . . . . . . . . . . . . . . . 40 Jenny Dale . . . . . . . . . . . . . . . . . . . . . 42

Artists

Chantelle Irish. . . . . . . . . . . . . . . . . . 44

Richard Harris . . . . . . . . . . . . . . . . . . . . 8

Mark Jonathan Baldock. . . . . . . . . . 46

Emma Coleman. . . . . . . . . . . . . . . . . . 10

Luke Aveil. . . . . . . . . . . . . . . . . . . . . . 48

Charlotte Miceli . . . . . . . . . . . . . . . . . 12

Dana Medonca . . . . . . . . . . . . . . . . . 50

Artemis Meereis. . . . . . . . . . . . . . . . . 14

Kayon Reynalls . . . . . . . . . . . . . . . . . 52

Tim Boddy. . . . . . . . . . . . . . . . . . . . . . . 16

Jo Castle. . . . . . . . . . . . . . . . . . . . . . . 54

Richard Johnson . . . . . . . . . . . . . . . . . 18

Anita Lasocka . . . . . . . . . . . . . . . . . . 56

Davide Ferrari. . . . . . . . . . . . . . . . . . .20

Lucy Brooker . . . . . . . . . . . . . . . . . . . 58

Aaron Kilby. . . . . . . . . . . . . . . . . . . . . 22

Jennifer Ballard . . . . . . . . . . . . . . . . . 60

James Ide . . . . . . . . . . . . . . . . . . . . . . 24

Stephanie Edwards. . . . . . . . . . . . . . 62

Katrina Cadogan. . . . . . . . . . . . . . . . 26

Rich Harley. . . . . . . . . . . . . . . . . . . . . 64

Rachel Johnson. . . . . . . . . . . . . . . . . 28

Ruby Phagurah. . . . . . . . . . . . . . . . . . 66

Christopher Talbot. . . . . . . . . . . . . . 30

Robbie Sweeny . . . . . . . . . . . . . . . . . 68

Esther Gray. . . . . . . . . . . . . . . . . . . . . 32

Amanda Kay Carter. . . . . . . . . . . . . 70

Michael Delaney. . . . . . . . . . . . . . . . 34

Christopher Kamper. . . . . . . . . . . . . 72

Sunita Grant. . . . . . . . . . . . . . . . . . . . 36 Teresa Jozef . . . . . . . . . . . . . . . . . . . . 38

Artistsâ&#x20AC;&#x2122; Statements. . . . . . . . . . . . . . 74 7

richard harris

emma coleman

charlotte miceli

artemis meereis

tim boddy

richard johnson

davide ferrari

aaron kilby

james ide

katrina cadogan

rachel johnson

christopher talbot

esther gray

michael delaney

sunita grant

teresa jozef

evi kemmler

jenny dale

chantelle irish

mark jonathan baldock

luke aveil

dana mendonca

kayon reynalls

jo castle

anita lasocka

lucy brooker

jennifer jane ballard

stephanie edwards

rich harley

ruby phagurah

robbie sweeny

amanda kay carter

christopher kamper

artistsâ&#x20AC;&#x2122; statements

richard harris

lotment itself could create images, or rather, destroy

charlotte miceli

page 8 www.richardharrisphotography.co.uk

them. By burying images within the earth and water of

page 12 charlotte.miceli@yahoo.com

What does an allotment mean to a city dweller? Is it

my allotment, it has itself, become a form of camera.

This series of photos is inspired by the notion of

simply a means of growing food, nothing more than a

childhood innocence, an area I have come to explore

small personal farm? Or is an allotment somewhere

Emma coleman

in much of my photographic practice. Adolescence,

you escape to from your day to day life in a fast paced

page 10 emmajcoleman@gmail.com

the period of time in which a person progresses from

industrialised world, some kind of modern personal

Photography has provided me with the medium to

childhood to adulthood has always deeply fascinated

utopia?

explore and address personal issues. It is my de-

me. Although inevitable, it still maintains an element

In the winter of 2009 I began renting an allot-

fence, allowing me to photograph challenging situa-

of mystery.

ment in ‘Fullwell Ave, Greater London’ with the aim of

tions without losing the battle with my conscience.

understanding why people use them. After spending

My photography surrounds familial challenges aim-

to photograph. The relationship between themselves

a significant amount of time photographing my own

ing to reveal the beauty within the trauma, in unison

and the camera alone demonstrates the uncertainly

and the surrounding allotments, it became clear that

strengthening my familial bonds.

of this stage of their lives. Despite the awkward pose,

an allotment can be used to ‘create’ as it provides the

This collection is focused on my Nan and Grand-

or the defiant stare into the lens of the camera, they

owner with food and enjoyment, but it can also ‘de-

dad. My Nan had a fall two years ago and since then

are almost unreadable. There is much more to these

struct’ which is evident by the abundant dilapidation

has required constant care. My Granddad is dedicated

creatures than meets the eye.

and the methods that allotment owners use to keep or

to caring for her in the home they share in Morden,

maintain it.

with the addition of a morning and evening visit Mon-

artemis meereis

To me, the perfect example of ‘destroying with the

day to Friday from social care nurses. He struggles

page 14 arte.meereis@gmail.com

intention to create’ on an allotment is the prevalent

with the restriction and lack of freedom associated

Self-portraiture and notions of constructed identity

use of compost heaps. The humble compost heap

with caring for my Nan but would never consider a

are the focus of my photographic work. My images al-

breaks down organic material over time into a rich

care home. I visit on a Wednesday and sit whilst my

lude to the multiplicity of identity; that it is not fixed,

soil which can be used to provide nourishment to the

Granddad talks affectionately of her, fondly reminisc-

but is instead fluid, interchangeable and multi-facet-

growing plants.

ing on the independence they once shared. They have

ed. Furthermore, they represent my belief that identity

been happily married since 30th August 1939 and this

is an illusion that is created by the individual in the

year will share their 95th Birthdays together.

pursuit of a true sense of self.

I found this act of simultaneously destroying and

creating fascinating, and I wanted to know if the al-

Teenage girls are extremely intriguing subjects

tim boddy

an image of what I believe is a quintessentially British

and sings of conflicts in London, and I subsequently

page 16 www.ymmitphotography.co.uk

representation of nostalgia for the viewer, in the sense

moved to territories such as Serbia and Bosnia where

My project is a response to what is happening on the

that the notion of afternoon tea is dissappearing into

signs of combats are still evident.

Heygate Estate, South London, due for demolition as

what I call the ‘Coffee Culture.’ in many ways people

soon as the few last remaining residents are removed.

have taken this Tea Culture for granted, being that tea

terviewing and photographing Veterans and disabled

Further, it is a comment on the medium of photogra-

is less widely talked about or used as a conversational

ex-serviceman. The project has been a dive into a

phy itself, utlising a camera gifted to me by a welcom-

tool. Looking at my work one could suggestbthat I,

reality that I was not aware of and imagined being

ing resident, and presenting scenes and stories from

in some ways am stuck in a past period of time, or

completely different. This experience reinforced my

the ‘glory days’ of the estate when it was a thriving

maybe I’m scared of the present.

desire of documenting our world and its atrocities,

community in the 1970’s.

The relationship between text and photography

I later concentrated my attention on people, in-

and these final images are hopefully the expression of

davide ferrari

my commitment.

is explored, and the language of each and how they

page 20 foto.ferrari@gmail.com

relate to one another. Which is telling the truth?

I have always been fascinated by Politics, people and

aaron kilby

Neither? Or are in fact both? Nostalgia is another

the world around me, and my photos are almost al-

page 22 akilbyphoto@yahoo.co.uk

language with which we are all familiar with, and a

ways the direct representation of my point of view.

Sports and the human body- These two items come

language in which truth can be also be created, and in

This interest influences me as a person and as

hand in hand together in every single aspect. The hu-

this project the two issues intertwine.

an artist, and the desire of conveying my emotions

man body has a pivotal role in each and every sport.

pushed me to use photography as the medium to

And the way in which the human body reacts to each

richard johnson

reach my aim.

one of these sports is always very different.

page 18 www.richardmjohnson.com

I have a very honest, real and humanistic view towards

curiosity, inspiring and motivating me to study their

and the body. The work explores how the human form

life and my work. My work focuses on the specifics

relationship with truth. With this work I wanted to ex-

reacts to the certain manoeuvres that are produced

of life style, particularly British, I have explored theo-

plore the universe of wars, expanding my knowledge

within sports, in particular exploring the muscles

ries on, and photographed the collecting culture, in-

of the argument as well as testing my ability of work-

that are used and the way the body moves. As well

terior decoration and now, focusing on the notion of

ing with such an important subject. Therefore, I start-

as considering the way in which the human body is

Afternoon Tea. I use afternoon tea as a tool to form

ed searching and photographing damaged buildings

eroticised through sport.

War and photography have especially aroused my

This work intends to examine the genre of sport

James Ide

determined by the fact that a person was born male or

in my work, from rising up to sinking down - and ul-

page 24 jimphotography@yahoo.co.uk

female but by the environment and upbringing of an

timately the struggle within the mind of each one of

I’m Not Him

individual.

us to let go of our own negative forces, to create an

inner balance and to achieve mastery of our individual

Within my latest work I look to represent and

My work is a personal project regarding the death

show that gender isn’t a one dimensional process and

of my father. It is an exorcism of my own feelings of

there are many factors that make up a person.

loss and guilt while at the same time a representation

of my worst fears of becoming my father. The work

Catherine Opie and Claude Cahun who I have re-

page 30 www.christophertalbot.co.uk

highlights similarities between me and my father that

searched a lot amongst many others who focus on

“Performance” is a series of photographs highlighting

I still struggle to acknowledge. The work deals with

gender and sexuality in photography.

the difficulty photography can face in constructing a

The artists that I have been inspired by include

destiny.

christopher talbot

truth. Each photograph’s subject is either a replica or

subjects of addiction and pain and to be violent and violated. These images were influence by the work Ri-

rachel johnson

model of something real, playing on the notion of the

chard Billingham, Nan Goldin and the painter Francis

page 28 www.racheloliviajohnson.com

unreal as the subjects themselves are fake elements

Bacon. My work blends the snapshot aesthetic with

This body of work surrounds my insight and fascina-

presented as genuine. On first glance the subjects ap-

abstraction from the human form.

tion of the power of the mind. Positive and negative

pear to be authentic, but on closer inspection small

energy in life can be determined by a combination

details can be noticed by the viewer presenting the

katrina Cadogan

of conscious decision and subconscious submission,

feigned element. The photograph fails to create a tan-

page 26 katrina.cadogan@gmail.com

also by the weight of life both present and past: simul-

gible connection between the two, as it is presented

Q: What is Gender?

taneously foreseeable and invisible and often random.

as both.

A: Gender is referred to the socially constructed roles,

However I believe profoundly that we possess in our

behaviour, activities and attributes that a particular

minds and our responses, the strength to confront

the ocean, immediately you can ascertain the differ-

society considers appropriate for men and women.

these forces.

ence between the sun and the reflection. This series

Gender is how masculine or feminine one perceives

attempts to subtly subvert the viewer into questioning

themselves to be.

pressing down on our lives. Having experienced mo-

My work involves the theme of ‘Gender’; it is

ments of great joy as well as moments of great despair

mostly about the androgyny. I believe that gender isn’t

and sadness, I have tried to explore both mind states

My work explores the weight of these forces

When looking at an image of a sunset reflecting in

what they regard as real or unreal.

esther gray

time when the streets are deserted and the environ-

these famous images may have looked had they been

page 32 esther@esthergrayphotography.com

ment takes form under the glow of street lamps,

painted by a black artist, or been about West Indian or

“The family album, in its naïve and defective way, cer-

the darkness veiling all that is not exposed by the

African culture. I also aim to raise question about tra-

tainly satisfies the immense need for a story which for

city lights.

ditional Western art, and its role in mis-representing

lack of written documents haunts each family.”

ethnicity.

of the light from its origin in the world to the camera

-Anne-Marie Garat

By projecting the image it continues the passage

In generations past, personal stories and family histo-

and then from the slide back into the world, giving it

teresa jozef

ries were passed down through oral tradition. Today,

life again. This also creates a physical space between

page 38 www.teresajozef.com

these histories are illustrated through photographs.

the projector and the image, as would be the case if

This project is about Southwark Council Estates. I find

The selective subject matter that fills the pages of

the viewer were actually in the location that is being

it fascinating to see how people from all around the

family albums has become the focus of my work.

reproduced.

world adapt to living in London, especially in council

What do we choose to document as our own personal

The image is also an attempt to capture reality

houses. Being an immigrant myself and trying to feel

legacies and does it tell a wholly truthful story? Do

in three dimensions in addition to producing a physi-

at home in one of the council flats, I learn about my

Christmases and birthdays, weddings and parties,

cal manifestation of the void, emptiness that can be

neighbours, their culture and backgrounds. I decided

create a full representation of life within a family unit?

found in the city at night when only traces of people

to pick a few individuals who represent this small

Or do they build a broken and partial story? In this

are present. It looks at the hours when the world be-

community.

work I have replaced the traditional family album with

comes an echo of the day and a shadow of its inhabit-

an alternative that explores life’s more defining mo-

ant’s existence and the varied atmosphere of London

ments and issues that become the threads of memory

at night, both potentially peaceful and poetic or in-

within a family story.

timidating and sinister.

michael delaney

sunita grant

aim to portray my own state of mind while mainly fo-

page 34 michaeldelaneyimg@yahoo.co.uk

page 36 sunitagrant@yahoo.co.uk

cusing on the city’s urban landscape. It is my intention

This work is a study of the urban landscape at night

My work explores black culture and addresses lost

to depict the sheer loneliness that I have encountered

and the isolation that can be found in the city in con-

and forgotten black history. By referencing classic

during my stay in a large city, a place that is naturally

trast to the day. The projected image documents the

and well known oil paintings, I try to visualise how

seen as full of life and diversification.

evi kemmler page 40 ekemmler@yahoo.de

My latest work examines the theme of isolation. The images originate from excursions through London and

jenny dale

the sky above is what I take pleasure in capturing. I

a co-existence of both historical and media commu-

page 42 www.jennydale.co.uk

feel completeness that leaves me with a remarkable

nicated recollection in a pictorial atmosphere which

Perceptions of others are distorted by many things;

intense relationship with not only the land I am photo-

belongs as much to film and the motion picture world

there are parts of people that may always remain hid-

graphing but also with my faith.

as it does with the photographic world. Without light,

den no matter how long we know them, no matter

none of this would be possible.

how hard we look. I chose my father as the subject

hard to come upon all over the world in London, we

for this project, reflecting a relationship with an ever

are still presented with thousands of trees through-

luke aveil

morphing way of seeing by peeling away the layers to

out the boroughs, which have lived over hundreds of

page 48 lukeaveil@yahoo.com

reveal what is otherwise hidden. Yet these layers will

years. Such trees can be seen on the high streets and

The figure in my work is someone that is suffering

reveal themselves depending on the viewer’s percep-

in the country parks that consist of lakes, ponds, flow-

from insomnia. Insomnia is a condition where the suf-

tion. My photography takes full advantage of the tools

ers and the living wildlife. These parks are designed

ferer has trouble or is unable to get to sleep at night.

that digital manipulation has given us, creating a hy-

to leave one feeling closer to nature and away from

The condition can have a number of causes, anything

brid of real and manufactured bodies.

the city.

from underlying medical problems to watching televi-

sion in bed.

chantelle irish page 44 info@chantelleirish.com

Real or artifical? Over the years I have questioned myself as to why

Although natural land unaffected by humans is

At present we are able to artificial plants, trees

and flowers to display in our personal space. Within

the next twenty years, it is possible that artificial trees

condition and in the short term has no real physical

will be “planted” on our high streets. This will leave

symptoms. In this piece I try to convey the notion

one not being able to differentiate between the real

of the pain and suffering that the subject is going

and the artificial unless you were to touch them.

through as a result of suffering from insomnia.

I have such a profound interest in the natural land-

Suffering from insomnia is very much a mental

The shards of glass surrounding the subject, and the

scape. It was not until I began to photograph God’s

Mark Jonathan Baldock

creations that the answers started to unfold as to why

page 46 markbaldock85@yahoo.com

I wanted to become a landscape photographer. Shoot-

No Light, No Picture

empty room she is sitting in, are metaphors of the pain and loneliness she is experiencing and ultimately combining as a torturous experience.

ing such imagery is a way of sharing my appreciation of Mother Nature’s creations with others. The way

Light mediates between the invisible and visible, the

that the earth’s and the sea’s surfaces combine with

real and the imaginary; and in doing so it produces 79

dana mendonca

to merge these two separate parts of my life into being

on it. It seems to me that this great technology can

page 50 wildpixels@gmail.com

one cohesive world, and at times it feels as though I

form a barrier between us and those in our immedi-

“The photographs we keep for ourselves – not always

have to choose between the two. This project is a rep-

ate surroundings. Local communities are replaced by

in family albums are treasured less for their quality

resentation of my struggle between being a mother

distributed global communities, where each member

than for their context and for the part they play in

and an artist as well as trying to involve and represent

is known only by their online names and personal

confirming and challenging the identity and history of

motherhood as art. The key piece of artwork that I will

contact just doesn’t happen that much anymore. This

their users”

be basing my work around is the painting of Madonna

strange contradiction strikes me most when I see

and Child. There are so many different aspects about

people working away on their laptops, solitary and

this image that can be taken apart and discussed,

private, in public environments like cafes. In these

- Patricia Holland in Sweet is to scan - Personal

Photographs and Popular Photography’ (1997)

the topics of race, religion and beliefs, feminism and

places I am one of the many who has come to get my

My work focuses on the power of family photographs

gender. These are topics that I will explore in order to

coffee and ignore the busy, social world around me in

to compress our childhood into a few key moments

create what I feel is a representation of my life as a

favour of staring at my own personal world through

– fractions of the past frozen by the camera shutter.

mother and artist.

the screen of my computer.

those produced by our individual memories, distort

jo castle

anita lasocka

our view of who we once were.

page 54 www.jocastle.com

page 56 www.anitalasocka.com

I’ve always been fascinated with technology: How it

Xrays expose my body to the scrutinised eye of a

Kayon Reynalls

affects societies, how we use it, and how it alters our

viewer. It reduces me to a fragment, a function, an

page 52 kayon.reynalls@gmail.com

individual behaviour. Technology in the form of port-

illness. It reveals my secrets. Secrets hidden deeply

My work is related to and is challenging the under

able personal computers and communication devices,

within my body, under my flesh, untouched, unseen,

representation of babies and infants in Art. Inspiration

along with the internet, has opened up windows on

unexplored. Xrays survey every part of me, an intruder

for this project derived from my own life experience,

worlds we could not previously be part of, allowed

of my privacy, a de-constructer of the perfection of my

recently becoming a new mother myself as well as be-

access to a wealth of knowledge and entertainment

body. It makes me uneasy, unsettled. It alienates me

ing an artist, I sometimes find it difficult to mix the two

as well as a means of disseminating information, and

from my body. It makes me aware of my defects, a

worlds and effectively I end up feeling as if I am living

generally made life easier. I love my laptop. But I also

witness of the corruptibility of my body, its transience,

two separate lives. It has been a tricky process trying

sometimes feel like I shouldn’t be wasting my life

a constant reminder of my mortality.

Truths and myths carried within these images and

lucy brooker

player. On stage they captivate audiences with their

Shot with a videographic style inspired by photogra-

page 58 lucybrooker__@hotmail.com

almost un-human agility and grace, but when the cur-

phers learning to use video capable DSLR cameras,

My work is about portraying a story using multiples of

tains close they are often physically and psychologi-

and edited to mimic Dziga Vertov’s Man With A Movie

the same person. The stories are extracted from cur-

cally exhausted from years of the strictly controlled

Camera, the video focuses on the small details of mod-

rent news and the idea is to produce a comical angel

lifestyle they have chosen.

ern life I find inescapably fascinating.

on the narrative. The characters have been photo-

graphed as if caught unaware and in action, thus cre-

pointe shoe. This extension of the female dancer’s

and constant point in a spinning and advancing world.

ating images that capture a glimpse into what can be

foot, this tool which pushes them on to pointe and

Through being that still point, the humble coffee ma-

seen behind closed doors.

into aesthetic perfection, can also end careers in sec-

chine becomes a metaphor for a day in the life of the

onds if not used correctly. For this reason, the design

city of London.

The root of many common ballet injuries is the

This video places the coffee machine as the still

Jennifer jane ballard

and personal adjustment of a pointe shoe is crucial to

page 60 jennifer_ballard62@yahoo.co.uk

prevent injury.

Ruby Phagurah

“Memory allows an endless flow of connections. Sto-

page 66 rubyrossusa@yahoo.co.uk

ries can be rewritten , memory can’t.”

it’s inner complexities but also it’s myths. No bulky

I am a photographer and designer whose work ex-

wooden blocks or tricks are found inside, but merely

plores the themes of fashion, fantasy and most impor-

I used photography in this project to deal with my

the tough, trained feet of the perhaps rather maso-

tantly culture. My work delves into different worlds

personal pain and lost. I lost my best friend to a termi-

chistic ballet dancer, who just like an athlete, con-

and questions my own existence that is almost always

nal illness two years ago. This project deals with the

stantly battles with pain in order to fulfil their dreams.

lost and battling to find a balance between my Indian

- Nan Goldin

By dissecting a pointe shoe I discovered not only

roots and British nationality.

emptiness, which hasn’t yet healed, and the need to

rich harley

page 64 www.richharley.com

lives of two women. One is an Indian courtesan and

stephanie edwards

The production of espresso is a violent process for the

the other a Western lap dancer. What I explore in

page 62 stephanieedwards4@gmail.com

coffee. After the coffee tin is opened, the beans are

Worlds Apart is that despite the differences in culture

Though hidden behind an elegant guise of satin and

ground, tightly packed into a metal basket and sub-

the two women are the same and understand each

tutus, professional ballet dancers are as regimented

jected to high pressure water, forcing the espresso

other and their circumstances. Worlds Apart is just

as soldiers and as susceptible to injury as a football

through a fine mesh.

the start of my journey to find the balance.

remember her.

Worlds Apart focuses on this. It focuses on the

robbie sweeny

christopher kamper

page 68 robbiesweeny@gmail.com

page 72 www.christopherkamper.com

Within my work my aim is to explore identity, namely

“I’m interested in language not as a visual element but

hidden identities, specifically notions of queer iden-

as something to read.”

tity. My attempt here is to identify how people are

- John Baldessari

forced to hide their own identities in every day life so as to fit into a narrow perspective of conformity which

Despite entirely agreeing with Baldessari’s statement,

society can impose onto people. In my images I use

I wish I could say the same about my relationship with

the various forms of binding, as a representation of

photography and simply state: “I’m interested in pho-

censorship, be it self-censorship or a society based

tography not as an intellectual item but as something

form of imposed censorship. When the binding is re-

to look at.”

moved the model here is left with some very visible

markings and bruising. The question I wish to pose

of photography still remains the photograph itself. A

here is of what invisible marks are left on the psyche

specific photograph rarely sparks the same fascina-

of people who feel permanently required to restrict,

tion in me as the boundaries, limitations or frontiers

conform and censor themselves?

we might transgress when we look past the edge of

Instead, my main subject of interest in the field

the photograph, scrutinizing the frame itself.

amanda kay carter page 70 amanda.kay22@yahoo.com

A voyeuristic encounter, imagery that explores the discrete tones of society, depicting the interactions of shadow, sexuality, and the seduction of darkness. The reminiscent of discrete desire, divulgence and private encounters frame the subtle indications of ambivalence. Presenting a collection of work that addresses compromising values of the self and society.

In between this view and the longing for pure aes-

thetics lies the terrain that my work charts.

We, the students of the 2010 LSBU BA PHOTOGRAPHY course would like to express our profound gratitutude for their unwavering support in making this degree show happen to the following persons: Daniel Rubinstein (Head of Photography) Paul Richards (Lecturer) Chris Packham (Technical Demonstrator) Gordon Kerr (Technical Team Leader) Dr Jenny Owen (Head of Arts, Media and English Dept.)

Cover photo by: Richard Harris (www.richardharrisphotography.co.uk) Layout by: Christopher Kamper (www.christopherkamper.com) Published in 2010 by the London South Bank University Photography Department 103 Borough Road London SE1 0AA, United Kingdom 020 7815 7815 http://www.lsbu.ac.uk