THE SUM øF åLL PåRTS BA (HONS) Photography 2013 Stockport College www.thesumofallparts.co.uk
The Sum øf åll Pårts Collective Statement ‘The 2013 Stockport BA Honours Graduate Photography exhibition, hosted by Chinese Arts Centre Manchester, is a diverse collection of work by 17 artists. ‘The Sum of All Parts’ explores the possibilites and limitations of still photography through its intersection with moving image, installation, sculpture and inter-disciplinary practice. Within this collective investigation, each artist has forged a distinctive creative identity, exploring issues of social, cultural and personal significance.’
Exhibiting Artists Sophie Almy
Jana Rahel Pfeiffer
Amy Elizabeth Collins
Sophie Almy ‘Daughter Mother Mother Daughter Daughter’ This work captures the essence of a relationship between 3 generations of women. A Granddaughter, a Mother, and a Grandmother. A fragile cycle of repetition. A battle between what somebody was, is, and becoming. There are estimated to be 670,000 people in the UK acting as the primary carers for people with dementia (Alzheimer’s Society, 2012). Carers are often referred to as ‘invisible second patients’ as dementia can put strain on the relationship, not only between the patient, but the carer and their family too. Through matching video and contrasting audio, ‘Daughter Mother Mother Daughter Daughter’ shows how the present day can be a struggle, as opposed to the ease of earlier life.
Hayley Andrew ‘Duplicity’ Contemporary photography appears to be in an ever-shifting state of flux. As explored by Charlotte Cotton in, ‘Nine Years, A Million Conceptual Miles’ our collective relationship with images is in a current phase of transformation. The advancing digital environment continues to challenge our conventions and expectations of photography and the image itself has become conflicted; fluctuating between tradition and re-representation. Duplicity explores the implications of the shifting battle between the ‘then’ and the ‘now’ of photography. Using chemical, digital and sculptural construction, Duplicity considers the archival image in the digital age. By questioning the typologies of image that photographic history has helped to define, Duplicity seeks to explore these archetypes under a new perspective; one in which a form of man-made pixilation is present in the physical construction of the image. With special thanks to the John Kobal Collection, London.
Teresa Beatty ‘Machine Vision’ ‘Machine Vision’ is an interactive installation which challenges today’s obsession with surveillance in the UK. The number of surveillance and communications interceptions has skyrocketed in the past 30 years. According to a large-scale audit in 2011 an average of one in every 32 citizens is being watched at any given moment. This mass of surveillance is ever progressing in line with technological developments. As a society we are ever watching and being watched, by others, ourselves and surveillance machines. There is an uncanniness attached to the cameras and CCTV systems in operation over the UK, an essence of voyeurism within the machines. We employ operators to repeat this act of observation through the interpretation of reality that the digital eyes create. ‘Machine Vision’ constantly watches you and then creates its own interpretation; however it does not see everything. Amongst the components and the technology the digital eyes only represent a blurred uncanny double of reality. You are integral to the installation; observe yourself under surveillance as one citizen in 32.
CM Brosteanu â€˜Thresholdsâ€™ A collection of images that explores landscape and memory, space and time and also investigates the universality of the liminal. Psychologists call liminal space a place where boundaries dissolve a little and we stand there, on the threshold, setting ourselves ready to move across the boundaries of what we are to be. Similar to the shore it is sometimes watery to swim or fish in and sometimes dry to walk on and discover shells. It is the poetic space that exists outside the physical, logical and rational but also owes its reality to them. The aim of the project is the investigation of these spaces with no fix purpose in relation to the powerful blend of affects triggered by memory.
Stephanie Carr â€˜I Was Fighting Jerrys Before Your Ink Was Dryâ€™ I was fighting Jerrys before your ink was dry. -shows experience, said Veteran to Novice. This project is an active archive of faces, memories, and experiences of individuals that were involved in the war effort for World War Two in some capacity. Comparative portraiture and transcribed text act as a window into these individuals thoughts and their lives. To the eye, the passage of time is apparent, although the memories hidden are still resonant within. Both men and women are involved in this ever expanding body of work, showcasing determination and defiance that have not diminished throughout the years.
Amy Elizabeth Collins ‘Misplaced’ The journey between finding the ‘image’ of a still life and the landscape is a journey worth exploring. The combination of both subjects leads to different aspects of art and photographic content, in that, to finally find a point in which to create something meaningful, becomes worthwhile. This exhibit explores the relationship between the object and its surroundings to which it presents a sense of the mysterious, and poses the question, Are these images a Landscape or have they become a Still Life?
Maciej Gaszcz ‘Transformations’ “The simulacrum is never what hides the truth - it is truth that hides the fact that there is none. The simulacrum is true.” Jean Baudrillard In the time of an incessant circulation of information our perception is exposed to image saturated impulses, which disturb natural comprehension of the reality. As the receivers and the transmitters, we transform these impulses into visions of the unknown. Peculiar collages created during this process become our only true reference and in some way determine our trajectory. This project undertakes a visually experimental attempt to investigate a transformation of information. Material has been taken and transformed through a complex process of copying and registering. Changed, it is then reincorporated back to its original source to create something unreal. This project attempts to bring reflection to our perception and reality, which seems to be just another copy of its own representation.
Alexandra Lawler â€˜Autophyseâ€™ Autophyse - Copy by nature Living in a city nature is often forgotten and neglected, pushed to pre-sanctioned spaces such as parks and gardens. We forget the persistence of nature, overlook and often destroy the plants that encroach upon our urban environment. Autophyse, glorifies these plants, recording them using the pre-photographic process of Anthotypes. Photography has been intertwined with nature and scientific discovery since its inception. Autophyse reflects this time period and the desire for accurate recordings using photography and the compulsion to archive and preserve. It combines the traditional physical archiving system of a museum with the modern, non physical, digital archive. With thanks to Manchester Museum.
Joseph Light â€˜Lemniscateâ€™ Lemniscate by Joseph Light questions our interaction and expectation of the contemporary photograph through the documentation of the suburban brown field landscape. Both image and land appear in a inescapable, constantly rendering state. Their true form hidden in the depths of a combined palimpsest which may never be revealed or even get the chance to exist.
Amber Lomas ‘Legacy’ Legacy is a project built from the collection of lost or unwanted images. As a photographer, I have a need to collect and record my life through the photographic medium; so family photo albums are very important to me. The collection of images started as a selfish need to preserve these photographic memories, even if they are not my own. The story described in this book is one of Philip talking through his family’s history as a keepsake for his first born daughter. This collection of images reveals the importance of close family and his feelings towards the memories held in the images, even if he was not there to enjoy them himself. Family photographs are meaningful keepsakes to pass on the memories of our past to our every growing family. As the digital era expands photos are no longer being held in tangible photo albums for family and friends to enjoy. Instead, images are being kept in digital format, very often on social media sites, which are accessible to all. However, personally as a collector of personal keepsakes, I would choose to keep my memories in a tangible form to share only with close friends and family. Such photo albums enable me to describe personal memories of the moments that have been captured in the images rather than just clicking through a series of digital pictures.
Colette Longden â€˜Terrain Vagueâ€™ Photography intercepts time, disrupting our relationship between past and present; where the force of each threshold creates fissures on the fabric of perception. Portraiture flickers within the terrain of being and the requirement to become a sign at the intersection of the self and the advent of the Other. Working with Lenticular images, these intense relationships of subject/spectator, time/movement are offered to the viewer to consider their unique creation of yet to be seen, accounts for the soul. This is participation in the production and deconstruction of images not necessarily of motion and stillness, but images within motion and stillness.
Samia Naamani ‘Enigma’ Like a book, a photograph can transport the viewer into a state caught in between reality and fiction, where it is possible to be in both places at once. Imagination creates spaces of fantasy, yet disruptions of reality can fragment the believability of fiction through implausibilities and imperfections. In spite of this, the want to believe an illusionistic moment to be true can make it so, resembling a child’s need to make a toy come to life. The transition from reality to fantasy is one of great fluctuation, yet what is it that allows us to distinguish a point when it shifts from one to the other, and how does this define any understanding of what you believe to be seeing?
Angineh Nowroozi ‘Your Neck of the Woods’ Preconceptions can be both damaging to others and ourselves. Being in the limelight for its ‘terrorist culture’, Iran has seemed to be written off for somewhere to live and would never be considered as a holiday destination. With all direct flights cancelled from anywhere in Europe, there is definitely an atmosphere that has been building against the country and its people. Elements of the past and events like these can leave stains that or too deep to remove or cover. Iran’s trials and triumphs has not just effected people world wide, but and has effected its own people too. This family has become separated and alienated by the countries events and their own way of dealing with it. Choosing everyday, what they show to others and how they actually feel. There are things we have to do in life to survive, and choices we make to fit in.
Jana Rahel Pfieffer â€˜Untraceableâ€™ In the UK around 250.000 people go missing per year. 20% of the people return to the place they left, 40% of found individuals choose not to contact those who are looking for them. Just 2.500 people remain untraceable.
Pippa Ratcliffe â€˜1595â€™ It would never be possible to enter a figment of your imagination in waking life. Your mind creates worlds filled with emotions and sensations that are projections of your sub-conscious. It is only upon waking that the projection fades and physical reality sinks in. Only traces of the dream remain. When dreaming, the subconscious becomes your reality. You create and perceive the world simultaneously, making time become irrelevant. By creating something that was never there, you are falsifying sensations that never existed but leave threads that your subconscious continues past the point of realization.
Susie Tsang ‘What’s Left is Unsaid’ A ritual opens up a narrative of a delicate and an intricate relationship between a daughter and her mother. Questioning the role of culture and the influence it has on identity is the catalyst that created a relationship in a constant flux of confusion and clarity, ease and frustration. The book is a re-interpretation of a cycle that is an on-going ritual and also offers the possibility of hope and making amends.
Andrew Wood ‘Worlds Apart’ Ever since we went into a recession in 2008, society has had to deal with dramatic changes within our economy. The cut backs in public spending by the government has resulted in thousands of people left without work and many have had to deal with a general degradation in living standards. The businesses that once provided an opportunity for jobs and services across the country now lay bare, empty shells on the high street as they have become victim to the lack of support from the financial sector. However, the same cannot be said for those working at the height of our society who are receiving high, unjustified bonuses whilst also making the decisions that are damaging the country’s economy. This has resulted in a heightened sense of distrust between those at the top and bottom of our social classes who are feeling the effects most. This dysfunctional relationship between the two is reflected across the countries high streets and has left the general publics uncertain at what may be in store for the future. The boarded up shops and closed down businesses that have been left without support are a visual reflection of this lack of care and trust throughout society. The ferocity of the deterioration we have witnessed leaves us to question... Who will be the next victim in the demise of our high street?
To our Supporters, THANK YOU The team here at ‘The Sum of All Parts’ would like to extend a special thank-you to all of our Kickstarter sponsors, without whom our exhibition would not be possible.
Designed and Handbound by Hayley Andrew WWW.HAYLEY-M-ANDREW.COM
LIMITED EDITION #