Edition #007

EDITION FINE ART PHOTOGRAPHY ISSUE#007

EDITION FINE ART PHOTOGRAPHY ISSUE#007

Editorial team Hannah Booth Iam Burn Rebekah Kitchell Technical Team Michael Daglish Special thanks to The Northern Centre of Photography at University of Sunderland.

EDITION Edition is a fine art photography magazine from University of Sunderland students at The Northern Centre of Photography.

This magazine acts as a platform for students to get their work out to a wider audience. In this issue we showcase a range of students’ work, in a variety of different mediums, ranging from traditional chemical and digital through to alternative processes.

As another academic year closes at The Northern Centre of Photography we say goodbye to another graduating year.

We wish them all the best in the future and all their future projects.

This issue marks the start of big things to come. We would like to welcome a new editor to the team, Rebekah Kitchell.

With her input we hope to see the continued success of Edition over this coming year.

One For Sorrow This body of work combines and juxtaposes the beauty of nature and the ignorance of mankind regarding the world they live in and the power of society. Through transforming mundane spaces into something extraordinary, it is an alternate and metaphorical representation of the ever tipping balance between the materialistic greed of man and the destruction of natural beauty.

One of the most recognised birds throughout the world is the Magpie, and despite the decline in many other species of animal and their habitats, this competitive and social bird population appears to be steadily increasing worldwide.

A common misconception about magpies, stemming from 1700’s folklore suggesting that they are attracted to shiny objects, could ironically be referred to when observing humans. An obsession for things that individuals don’t possess themselves can be witnessed through the destruction of our planet and its other inhabitants in order to reap anything from food, oil, medicine, material or in a blind pursuit of industrial construction.

There hasn’t always been a booming patriarchal industrialised society to control people. Instead, instinct ruled and the wilderness was home.

BETH PARNABY

ONE FOR SORROW

BETH PARNABY

ONE FOR SORROW

ALICE GIBSON

BEYOND REFLECTION

Beyond Reflection Gibson’s self-portrait project utilises reflections as a means for her to question her identity.

Collectively, the images show a transformation from student to graduate. Photographed in the different family homes she spends her time in, the photographs offer a narrative in which she considers her own future.

ANTONIA BARRACLOUGH

MY OIKIA

My Oikia Oikia οἰκία/(oy-kee’-ah) (n.) A House, a household, dwelling

In the early 1970s, my mother’s family left Thessaloniki in Northern Greece to start a new life in England. Here she met my father, who had spent his life in Bradford, West Yorkshire. Our family home contains objects that are a reminder of our beginnings and the two cultures my mother and father came from, representing a time I do not know but feel deeply connected to.

Out Of Place The home I had lived in since childhood was unexpectedly repossessed, leaving my mother, sister and I no other choice but to move in with our elderly relatives. Although it is comfortable and within a family environment there are numerous difficulties you can encounter living on top of each other.

Being surrounded by other people’s possessions, especially those of a different generation to your own, can make you feel like you don’t belong. When you do not have your own space to escape to and to reflect your own personality, it can leave you feeling restless and frustrated.

The interior of the house and the possessions around make you feel like an interloper looking in on someone else’s space. This can result in anxiety, stress and an overall feeling of displacement.

Sadly this is not an uncommon experience for many people in today’s economy.

BOBBY SMITH

OUT OF PLACE

BOBBY SMITH

OUT OF PLACE

CHANTELLE WRIGHT

INSTANT

Instant Sometimes only the best will do. Indulge in one of our many mouth-watering and beautifully presented meals.

Take a journey through our delicious creations. All made using only the best and finest fresh British produce.

Scrumptious choices ranging from sweet to savoury something for everyone and everything your taste buds could ever desire.

Instant takes a futuristic look at what our food may one day look like. The work is looking at what it would be like if all the meals we ate were just different flavour pills and powder that you simply added water to.

CHARLOTTE CLARKE

A. R. BINKS

A. R. Binks The farming industry can be overlooked and seen as something that just happens. A lot of people are unaware and have no knowledge about the industry and are shown what they want to see, whether it is on television or in newspapers. The reality of animal farming is that it involves a lot of hard work as you’re dealing with life all the time as well as trying to keep up with everything else on the farm.

Low Walworth Farm is based in Walworth, a small village in County Durham, co-owned and ran by Alan Binks. It consists of crops, cattle and sheep. Photographing through the lambing season, Charlotte Clarke’s project gives an insight into farming and the true reality it entails contrasting the hard labour with the beauty of the countryside.

Multimedia piece can viewed by clicking here

Streaming This body of work explores themes relating to the atmosphere of cinema and the unintentional blindness humans face when interacting with technology as a viewing platform. Having always had a passion for film, and the varying methods that have been introduced to view it, the artist has aimed to portray the moment a person is lost within the world of a film. By taking advantage of the portable nature of laptops or phones, they were able to create images that presented the subject viewing a film in an unconventional place, aiming to portray the extent to which they they had been absorbed into the film, becoming almost lost in time and unaware of their location.

Within the installation are still images, which become a conceptual analysis into the methods in which people can become completely encapsulated within a movie. They are backlit and presented within a dark space, aiming to enhance the effect of the images, being presented on the wall as screens. The contrast between dark and light allows the viewer to become more absorbed into the space, causing a particular level of engagement to the imagery, and achieving a desired ‘blindness’ to the world around them.

DANNI HARPER

STREAMING

DANNI HARPER

STREAMING

Heath’s Piscary ‘You shall have a fishy on a little dishy,

You shall have a fishy when the boat gets in.’

- Unknown The history of the coastal town of North Shields is synonymous with seafaring and the fishing industry. Steeped in this rich history the Fish Quay once played an important role in the town’s prosperity whilst forging its regional identity.

However, since the terms of the ‘European Economic Community agreement’ was signed under the Heath government and more latterly, with the restrictions imposed by ‘European Union’ fishing quotas, the industry has steadily declined. Indeed, only a handful of trawlers still operate from the Quay, although it is still the largest prawn port in the United Kingdom.

With these images I have examined the impact of a still declining fishing industry and the re-purposing of the Fish Quay and the surrounding area as a heritage and conservation site.

I hope that my acknowledgement of the often brutal and harsh conditions in which the fishermen work will therefore not be overlooked by the general perception of a romantic occupation.

Each set of images represents one fishing boat that is regularly moored within the gut. The series of letters and numbers accompanying each set are the individual registration number of each vessel.

DREANA BULMER-THOMPSON

SN10

HEATH’S PISCARY

DREANA BULMER-THOMPSON

HEATH’S PISCARY

Unseen I talk about emotional instability by showing the difference between outside appearance and inner chaos. People just now are learning to deal with the fact mental health is as important as physical well-being. Psychosomatic illnesses can be simply created in the human mind and cause paralysis, blindness and seizures.

“If you find their symptoms hard to believe, consider the many profound ways that your emotions already move your body“.

ERDVILE GIRININKAITE

UNSEEN

ERDVILE GIRININKAITE

UNSEEN

ERDVILE GIRININKAITE

UNSEEN

Sunderland’s Bangladeshi Community In our multi-cultural society, contemporary debates around national identity, migration and immigration are often presented in a polarizing fashion.

However, the reality is much more complex than the usual media sound-bite or political rhetoric.

In the 1970s, the UK saw a mass community migration of Sylheti people from northern Bangladesh. This influx of new residents brought a new culture, full of colour and warmth.

The British Bangladeshi population settled in many areas of the UK and Sunderland quickly became home to over 4000 Bangladeshi migrants, making up little over 1% of Sunderland’s population. The community’s journey, culture and heritage is an inspiring one, however, the community are often overlooked and underrepresented. This is partly due to a lack of communication between communities and the proliferation of outdated stereotypes of the wider Muslim community that is perpetrated by western media.

Dearing’s work simply aims to convey the warmth of the community and the hospitability they have extended to her during the project. By exploring the similarities and the differences in our life and culture this work attempts to opens an honest conversation about diversity and multi-culturalism in Sunderland.

HOLLIE DEARING SUNDERLAND’S BANGLADESHI COMMUNITY

HOLLIE DEARING SUNDERLANDS BANGLADESHI COMMUNITY

HOLLIE DEARING

SUNDERLANDS BANGLADESHI COMMUNITY

History Repeating The punk movement of late seventies in Great Britain brought about a change in attitude. The country was stagnating and people were sick of it. The politicians bickered and lied. The youth of the day decided to make a stand and plough their own furrow.

Fast forward forty years and the country finds itself in a similar position. It feels as if a groundswell of dissatisfaction is building momentum. The current Government is under attack for its policies against the poor and vulnerable in our society. People are starting to speak up and say enough is enough.

Embracing this feeling I wanted to take the 70’s punk ethos and artistry and bring it in to the present day. Taking images of Conservative MP’s, including the Prime Minister, I created images that merged punk bands of the 70’s and early 80’s to create a modern version of the DIY feel of the punk poster and record cover. I matched actual songs by the chosen bands to the politicians I felt they most suited.

IAM BURN

HISTORY REPEATING

IAM BURN

HISTORY REPEATING

Comfort in Repetition “It’s easy to project that, with only small changes in technology and other platforms, we will one day see amazing masters of the form. We’ll see selfies of ordeal, adventure, family history, sickness, and death. There will be full-size lifelike animated holographic selfies (can’t wait to see what porn does with that!), pedagogical and short-story selfies. There could be a selfie-Kafka. We will likely make great selfies—but not until we get rid of the stupid-sounding, juvenile, treacly name. It rankles and grates every time one reads, hears, or even thinks it. We can’t have a Rembrandt of selfies with a word like selfie” – Jerry Saltz, Art at Arm’s Length: A History of the Selfie.

Laura-Elizabeth has always been fascinated by the Selfie, so much so that when she was given the opportunity to undertake a large research project she decided to look at selfies in more depth; specifically at the clichés and etiquette that people abide by when they take them. This is what led her to find ‘Art at Arm’s Length: A History of the Selfie’. She was so inspired by Saltz’s closing statement that she knew she had to base her work on that quote, because she, like Saltz, believes that selfies will one day be viewed as an art form and not just a throw-away image intended for social media.

While she was performing some original research, in the form of a questionnaire, she noticed something rather intriguing: all the people that she’d previously thought were vain and self-absorbed were actually deeply self-conscious and thought very little of themselves. Those same people also take their selfies in almost the exact same way, because they know what makes them look beautiful and feel confident – they have sought comfort in repetition.

She has looked closely at those selfies by those self-conscious individuals, identified their dominant trends and created a body of work that shows just how precise these individuals are. By layering selfie upon selfie upon selfie, using the eyes as a focal point, you can clearly see their comfort and repetition within these self discovered formulas.

LAURA-ELIZABETH HOWES

COMFORT IN REPETITION

LAURA-ELIZABETH HOWES

COMFORT IN REPETITION

#VIRTUALLIFE Papachristoforou’s project explores our obsessive use of and reliance on smartphones and digital technologies. As people seem to spend more and more time locked into their virtual worlds, in virtual relationships, their real world passes them by. Immersed in darkness, the viewer enters this void of #VIRTUALLIFE and is forced to question why we are drawn like moths to the glowing screens of hyper-connectivity.

Furthermore the project aims to highlight the significant change of children’s activities in relation to the progress of technology, as youngsters now are less drawn in to taking part in activities outside as the traditional ways of growing up, such as playing in neighborhoods, are now slowly fading away. Instead they withdraw to their devices, encouraged by what the majority of people around them do.

Additionally the project also tries to “awaken” people who do not realize the extent of the problem of technology dependence. It also seeks to help them understand how many things they are missing out on, and will continue to miss out on, if they do not attempt to exclude the reliance of smartphones in their lives.

The technological “lethargy” has already, as underlined in the project, caused significant complications and detrimental effects to human relationships as people have become increasingly distant with each other, therefore forgetting the long established values of human affairs they were brought up with.

KYRIAKOULA PAPACHRISTOFOROU

#VIRTUALLIFE

Environment This body of work looks in to the social and working environments of a school. The empty classrooms and school yard relate to everyone in some way or form as you can portray your own memories into the empty place.

JASMINE HEYWOOD

ENVIRONMENT

Inattentively Creative There are pivotal moments in everybody’s life, each moment defines how a person develops and who they will become. Dealing with a neurological disorder is one of the most difficult challenges one can face as it is a disability that can’t be usually seen, yet you are a deviant from normalcy.

Attention Deficit Disorder (ADD) or it’s doppelganger, Attention Deficit Hyperactivity Disorder (ADHD), are fairly new diagnoses, ones that split opinion, and are often misunderstood. Navigating through childhood is difficult enough without the stigma of being different.

A fine line exists between acceptance and social exclusion. Clarke, the artist, was diagnosed with ADD at 20, prior to diagnosis he had to live with that fact he was different, with no understanding of why. The images in the series seek to portray those pivotal moments that have defined how the artist, and in contrast, society have portrayed him as a person. Each image gives a representation of the contrast between outward physical appearance and inward emotional state.

Following diagnosis, Clarke was able to understand the impact of these moments, his reaction to them because of his alternative interpretation of social interaction, and how they have had an effect on the portrayal of his self image.

JONO CLARKE

INATTENTIVELY CREATIVE

JONO CLARKE

INATTENTIVELY CREATIVE

Reminiscence In the end, memories are all we have.

In this piece of work, I explore how the memories of my childhood and the relationship with my sister are affected by nostalgia. As the environment grows old and is changed by time, the memories and the reminiscence between my sister and I remain fresh. A strong sense of belonging and identity are shared by us as sisters and, despite both our lives moving on from the original setting, the power of the memories form the backbone of our relationship.

Although the locations and the people change, the memories and the relationship do not.

LAURA HARDY

REMINISCENCE

JONATHAN JAMES CLEGG

OLD RUINS SLOWLY CRUMBLE AWAY

Old Ruins Slowly Crumble Away Old ruins slowly crumble away, but when thinking about preservation or holding onto memories I would normally write it down or print it off. So that is what I did, Normally these are seen through the day, but as an alternative and for the challenge, they work when lit by the moon and stars. These where part of a series for Alternative print, Taken at Hardwick Park (Sedgefield) and Egglestone Abbey (Barnard Castle).

They Ate it All Up Earth sat inside the Circumstellar Habitable Zone, known to some as the Goldilocks Zone. Here, we had the perfect conditions: not too hot, not too cold, just right.

Like the girl in the fairytale, our greed led to devastation. We had the perfect planet and we scraped the bowl empty, broke its legs under our weight and slept peacefully in the wake of our own destruction.

What did we do when we were discovered, the sleeping girl in a sea of chaos?

We didn’t stay to make the bed, to mend the chair or refill the bowl.

We fled through the window. To our next home.

LYDIA WAKELAM

THEY ATE IT ALL UP

LYDIA WAKELAM

THEY ATE IT ALL UP

MEGAN BETH

A CUP OF SUGAR

A Cup of Sugar Gone are the days of the village cinema and evening dates to the dance hall. The sound of the pit ponies pulling carts of coal and miners chatting is just a distant memory for the older folk and something that can never be experienced by the new townies that have moved into the now pretty village. Burnopfield has morphed into a place of convenience. Today it is filled with the sound of children playing at the Primary School, cashiers ringing in the local stores and engines revving for the commuters early start. ‘A Cup of Sugar’ investigates the various personalities that live within Burnopfield. Each image is shot in the room where the residents feel most comfortable, and is portrayed in a way where the viewer can look past any distractions and begin to form their own stories about each household.

MEGAN BETH

A CUP OF SUGAR

NATALIE LAYDON

ELEMENTS OF FEAR

Elements of Fear Abstract images representing phobias, each image is purposely made out of focus and are an area of the original photographs. The point is so that when the audience engages with the images, they can’t understand what they are looking at. Even with the added text of what each phobia photographed is, many of us still won’t understand what we are looking at.

This is all to show how these phobias are obstacles in daily life for people, yet to the rest of us it is something that we take for granted. The complete series is of nine images displayed as a grid in threes, this is a metaphor for ‘all bad things come in threes’.

The Hidden Part of Her This is a series of images reflecting the hidden part of Eastern culture and society, where there are women who don’t want to be considered as second genders. Women, who have been ignored by the government for years, are in a battle with society to achieve their rights.

SAHAR HARDAN

THE HIDDEN PART OF HER

SAHAR HARDAN

THE HIDDEN PART OF HER

TYLA FAIRBAIRN A SILENT STRUGGLE

A Silent Struggle Multiple sclerosis, also known as MS, is a condition that can affect the brain as well as the spinal cord. Symptoms may include impairment of speech and muscular coordination, blurred vision and, severe fatigue. All symptoms are caused by damage within the nervous system. However, due to such varied symptoms, the diagnostic process is challenging at times.

Using different forms of media, Tyla Fairbairn has created a documentary series looking at four people who suffer with multiple sclerosis.

Throughout the series the artist delves into their personal experiences, exploring each of their personalities through audio and images, allowing viewers to be able to connect with each individual on a personal level.

Multimedia piece can viewed by clicking here

TYLA FAIRBAIRN

A SILENT STRUGGLE

MOLLY ALLAN

DREAMING OF INNOCENCE

Dreaming of Innocence This body of work explores adolescence and loss of innocence within the female body.

The photographer looks at beauty and what we deem as perfection. She looks at the way we manipulate and present ourselves to others in order to seem more ‘grown-up’ and the changes our body goes through as it develops into womanhood.

MOLLY ALLAN

DREAMING OF INNOCENCE

What Lies Beneath The work is a series of self portraits dealing with the constant struggle of having anxiety. The idea of feeling trapped, restricted, and uneasy are emotions which my photos explore. The idea for this work comes from seeing my mum deal with her anxiety and how people who don’t understand her condition judge her and put her down for it. My portraits try to get the viewer to take a step back and consider that most people are dealing with a hidden condition.

ELLY PECKITT

WHAT LIES BENEATH

Vicissitude

Noun 1. A change of circumstances or fortune, typically one that is unwelcome or unpleasant. “‘Get out, get out of my home, get out now and don’t come back’ her Mum started screaming at her. This argument was common but usually her Step-Dad was there to calm her Mum down or drag her back, but today he was not there. Today she wanted to escape the constant mental abuse she often received from her Mum and left.

Little did she know this was the start of her story of homelessness at the age of sixteen.”

Vicissitude is engaged with exploring hidden homelessness and the emotional anguish it causes, an issue which is often overlooked.

There is a whole section of society that is excluded from home by family members and in turn made homeless. This estrangement and abandonment causes emotional strife that is unbearable to deal with and to try to overcome. This body of work uses one young girl’s experiences to represent a seldom seen issue within homelessness. Rather than following a linear narrative, there are three interchangeable ‘chapters’: vernacular snapshots of nights out from her friendship group during the time she was homeless, text simulating the emotional abuse she received and finally constructed photographs which are significant to the emotions she hid away from everyone – her story, representing a larger narrative.

EMMA BIGGINS

VICISSITUDE

EMMA BIGGINS

VICISSITUDE

Beth Parnaby One For Sorrow bethparnaby@hotmail.co.uk www.bethparnaby.com www.facebook.com/bethparnabyphotography

Alice Gibson Beyond Reflection alice.gibson@hotmail.co.uk www.alicegibsonphotography.co.uk

Antonia Barraclough My Oikia www.antoniabarraclough.com

Bobby Smith Out of Place bobbylouise94@gmail.com

Chantelle Wright Instant chantellewright94@hotmail.co.uk

CONTRIBUTORS Charlotte Clarke A. R. Binks

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charlotteclarkephotography@hotmail.com www.facebook.com/charlotteclarkephotography

Danni Harper Streaming danni.harper@hotmail.co.uk

Dreana Bulmer-Thompson Heath’s Piscary http://www.dbtphotography.co.uk

Erdvile Girininkaite Unseen erdvgir@gmail.com

Hollie Dearing Sunderland’s Bangladeshi Community holliedearing@outlook.com www.holliedearing.com

Iam Burn History Repeating iamburn@btinternet.com

Laura-Elizabeth Howes Comfort in Repetition laura-elizabeth--x@live.co.uk www.facebook.com/LauraElizabethHowes

Kyriakoula Papachristoforou #VIRTUALLIFE papachristoforoukoulla@hotmail.com www.kpapachristoforou.wordpress.com

Jasmine Heywood Environment bg87ez@student.sunderland.ac.uk

Jono Clarke Inattentively Creative jono_clarke@me.com www.jonoclarke.co.uk

CONTRIBUTORS Laura Hardy Reminiscence

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laushardy@gmail.com www.laushardy.wix.com/portfolio www.instagram.com/laura.j.hardy

Jonathan Clegg Old Ruins Slowly Crumble Away photography@jonathanclegg.co.uk www.facebook.com/jjcleggphotography

Lydia Wakelam They Ate it All Up www.lydiawakelam.com lydiawakelam@yahoo.co.uk

Megan Beck A Cup of Sugar meganbeck@outlook.com www.meganbeckphotography.net

Natalie Laydon Elements of Fear natalie.laydon@hotmail.com

Sahar Hardan The Hidden Part of Her saharhardan3@gmail.com

Tyla Fairbairn A Silent Struggle ww.tylafairbairn.com tyla.fairbairn@hotmail.co.uk

Molly Allan Dreaming of Innocence molly.allan@hotmail.co.uk

Elly Peckitt What Lies Beneath ellyrose.peckitt@gmail.com

Emma Biggins Vicissitude ejbiggins@hotmail.com

CONTRIBUTORS

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want to get your work in the next issue of edition? email us at

editionmagazine@hotmail.com www.edition-magazine.co.uk

CONTEMPORARY FINE ART PHOTOGRAPHY

BY STUDENTS AT UNIVERSITY OF SUNDERLAND