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BRINK BA Hons Photography Degree Show Scott Building Plymouth University PL4 8AA

THANKS The 2013 photography graduates would like to express their thanks to all the staff at Plymouth University that have helped us throughout our time here. Their expertise, advise and continuing support has been invaluable to us all. Class of 2013

A TIME OF GIFTS A few years ago, during a public lecture in Brighton, a very eminent American photographer and teacher was asked by a member of the audience if he ever learned anything from his students. After only the briefest hesitation he said ‘No. Nothing. Not a thing.’ Delivered to a packed auditorium, of whom I imagine at least fifty per cent would have been photography students, - I remember thinking how determinedly offmessage this response was, a deliberately jarring, reiterated denial; one of those self-consciously ‘honest’ appraisals from someone who regarded himself as a seasoned, no-nonsense professional. The remark had the desires stun-gun effect, but also, I felt, it opened up a dark chasm into the speaker’s life, and his heart. And, sadly, for many who were there it became the defining moment of an otherwise admirable lecture, something that lingered like a negative charge in the Air. It certainly prompted some interesting discussions in the days that followed - and gave me cause to think about the nature and value of teaching perhaps more so than ever before. Having been a teacher myself now for over two years,’ think I have built up a more solid defence for what was at the time little more than an instinctive opposition to the idea of an entirely one-way learning experience. There is a conventional wisdom of course, the standard fare of educational policy documents, which suggests that teaching is always both inspirational and challenging, and there is no doubt that it some-times, well almost always, is But I think the bureaucratic terminology also serves to drain the emotional life out of the teaching experience. My own sense as a relatively new teacher is that it can be incredibly rewarding, frustrating and emotionally draining in unexpected ways, and the feeling of being continually surprised and amazed by these young people - by their work, their imaginations, their resourcefulness and their humour - is all part of that; as are their myriad personal stories, which are often humbling.

Now, thinking about what I learn from teaching, and what I gain directly from the students, I have this mental image: if University lecturers are the always responsible but sometimes complacent managers of information, our students are often like mischievous operatives, who, given the key to our storerooms of knowledge and experience, are in the habit of walking in to systematically rearrange the boxes and files; either knowingly and irreverently disrupting them, or in some unaccountable way restoring their logic and order, but always in the process replenishing their contents before quietly leaving and closing the door behind them. The rich deposits they make their images, their ideas, the thought’s that they provoke - sustain us, and so a form of exchange takes place. And in the end, as in all teaching environments, it is perhaps the leaving that really distinguishes their experience from ours. What for the teachers are a series of unique, personal intersections with continuous processes and longer-term strategies, for the students are self-contained transformational years. We hope that this transformation embodies a coming to understanding, that feeding into the development of skills, knowledge and creativity, there is critical and self-reflection, and finally an awareness of themselves and their work that is carried with them into their subsequent careers. But my own experience as a student sometime ago would suggest that it might be a little more complicated than that; that in fact it might be years before graduating students can fully grasp, or finally get a perspective on, what actually happened to them at University, the astonishing impact and value of those years. So, while the extraordinary photographs collected in this publication, represent the bringing to fruition of diverse ideas and painstaking processes of research, planning and production, they are inherently also about something else - the wider ‘what happened’, they are about the energy generated by identities in the process of being forged. The photographs stand now, and will stand in the years to come, as documents and markers not just of the students’ fantastic achievements but of a beautiful moment in time a legacy for us and gifts to themselves, for the future. David Chandler, May 2013




Seishi (Life and Death)

Vanity of Existence

Intrigued by the Japanese culture of Wabi-Sabi and with the influence of Haiku, Bonsai and the Japanese Tea Ceremony. I am creating images to reflect the notion of simplicity and beauty of the imperfections of nature. Haiku poems reflect the delicacy in-transience in nature, a metaphor of human existence of nature and the celebration that things only last a small period of time.

At first consideration, sculpture might be thought of as the most willed of artist media, which necessitates serious physical commitment. The mythology of direct carving certainly carries associations of hard physical graft, clearly linked to personal volition. What happens when sculpture ceases to be quite so controlled, when it lets itself be

dictated by principles of change, determined by its environment or by the circumstances of its reception and documentation? Sam Fleming investigates the world of the ‘involuntary’ sculpture, which points to its own succinctness or its role as part of an on-going process, where it exists beyond a serendipitous photographic image.

“Nothing lasts, nothing is finished, and nothing is perfect” - Richard R Powell I have chosen to photograph a simple everyday figure of nature. A symbol of life but taken away from its life source. The image is transposed onto a dried leek skin reminiscent of Japanese paper but in itself celebrating life after death, making the invisible visible.

KATIE EMMETT Tregairewoon Farm: An Exploration Under the theme of exploration, using a historic photographic process, i’ve completed a study which looks at a particular landscape – farmland. I wanted to explore the idea of cultivated, managed farmland existing with the wilderness of the hedgerows, whilst also making other observations of this place, considering factors such as the weather.

STEPHANIE O’CALLAGHAN Impermanence Classical paintings have always found a need to associate young women with the innocence, purity and beauty of nature, particularly the flower. But is this relevant to how we view young women in the 21st century today? Playing on the notions of science vs nature I am heavily inspired by traditional Dutch portrait and Vanitas style paintings, using the camera as a time-freezing implement to help clutch onto the brevity of life a little longer. 4

LISA BEDDIS The Expression of Feeling This series of work is an exploration of Dance, challenging the clichés within Dance Photography. The concept

behind this series is for the images to portray how I feel when expressing myself through Dance. In essence, this series of work presents photographs that register with the pure physiological state I embody when dancing.

LENA BARKER Beautifully Repulsive The media today sets the ideal image of perfected beauty. This work has set out to explore this unachievable ideal. Pushing the boundaries of stereotypical digitally manipulated images seen within

the media. The work leaves the viewer questioning whether she is beautiful and human or just a plastic ideal. Therefore is she seen as either beautiful or strange? However she could undeniably be both, becoming beautifully repulsive.

EMILY MOSS Asphyxia This image is a still from a short film I am making which is based on the phenomenon of Sleep Paralysis. This can occur during awakening from sleep or falling asleep; you temporarily experience

OLIVER PROWSE An Exploration of Body and Form I explore the lines, shapes and forms of the body and work to reveal the sculptural potential, texture and expressiveness each body uniquely possesses. In removing glamorising features and elements of desirability, the beautiful contours and shapes of the body are able to not only

the inability to move. I have created a sequence of moving and still images which flow together to form an investigation of what happens before, during and after this phenomenon, drawing from personal accounts and fears.

be appreciated but viewed with a refreshed perspective. Through various techniques and visual approaches I work to strip parts of the body of their human identity and with it, create new objects.

GABRIELLE LATIFI The World is as You Are ‘Why do we as human beings live predominantly in our conscious minds when our unconscious is so much more interesting?’ This is something that I want the viewer to think about in my project; I want

to create a journey in which the unconscious is more at play than the conscious.


ROSIE KLISKEY We Don’t Have To Act Like This Within this project Rosie Kliskey explores the peripheries of the vernacular through instantaneous analytical observation of people and the places they inhabit, exploring the exceptional and the absurd within everyday life. The decision to use a snapshot aesthetic is a vital aspect within the work, dissecting fragments of peculiar behaviour and surprising circumstance. The editing process has as much weight in terms of importance as the photographs themselves, it plays an important role regarding how meaning is created, adding another dimension to the work. Encompassing wit and dark humour, objects are represented as metaphors of human behavior.

OLIVER STANTON-GRANGER Citizens In Great Britain we share a passion for our culture and way of life, embracing our history as a nation. England itself is a very culturally diverse country in today’s world, though the South West of England as a statistic has a much larger proportion of people declared as ‘White-British’ than any other area in the country. This social documentary study offers a look into our neighborhood and its inhabitants to what it means to live as a minority in Great Britain, illustrating multicultured diversity within Devon through a different way of life.

RACHEL PHILLIPS Becoming. In this final term I have been considering the issues of identity and nostalgia. Having been directed through education for approximately 18 years we now stand on the 6

prospect of leaving to enter to the wider world. “We know what we are, but not what we may be.” This project has been an investigation into the representation of nostalgia and the unknown that seeks us. Focusing primarily within the realms of portraiture I have worked with nature as a tool for the representation of

feelings of the abyss.

KIMBERLEY MCNAMARA Inscription This series of work has been the exploration of body modification. Through my work I have tried to challenge the ‘normality’ of people with tattoos, questioning whether

tattooed people are normal. The definition of normal is ‘wellknown’ – tattoos are becoming more and more popular every day, so does this mean that tattooed people are the new normal as opposed to the un-tattooed?

ELLA WATSON In Context My photography does not easily fit within genres; it is more often a form of self-expression, a way of connecting to the world and experimenting with ideas. Within my current practice, a sense of identity and the various ways in which I fit into the world are explored, including a sense of family history and place, connecting memories from my life with those who have preceded me.

GEORGIE HOLCOMBE Horse Fox hunting has been an English tradition since the 16th century, involving the tracking and chasing of foxes by trained hounds. A vote in the House of Commons in 2005, made hunting wild mammals with dogs unlawful in England. Though the ban still continues, hunts are still happening, though not to hunt

wild animals. Documenting an English tradition has always sparked an interest, living on Dartmoor and knowing people and their understanding of horses and hunts; I have found it an interesting tradition. Hunts only happen a few months of the year so alongside this project I am also documenting horses and their owners.

PATRICK GRAHAM Form & Pressure The character Hamlet once described the purpose of theatre as being to reflect the form and pressure of the age. This project seeks to examine the form and pressure found within a fine art photography department – the one in which this project was conceived and executed. Through transcripts of real conversations and photographs of their institutional context, Form & Pressure is a book work that seeks to disentangle the complex network of power relations that exist uniquely in this place and at this time.

AMY MCDERMOTT Brotherhood In every society there are people who do not fit the profile that may be expected of them. These people are often described as ‘characters’. The definition of a character is somebody with an odd, eccentric, or unusual personality. This project is a collection of portraits that best represent the ‘characters’ of modern British culture.

ADAM OSELAND Economic Intervention My work is a study of man’s relationship with food, the work invites the viewer to engage and interact with the everyday banal objects found in yesterday’s kitchens.


SARAH GEORGE The Alternative Portrait

NICOLE HAINS Dwelling Based on recent landscape enquiry by John Wylie, this project seeks to explore the idea of landscape as a reoccurrence of presence and absence; presence as a form of materiality, which, we can engage with visually or tangibly and absence as the immateriality’s, which haunt

The alternative portrait is an investigation into the creative response a model has to a portrait of themselves. It challenges the typical methods and practices of photographer-led portraits and gives the model a chance to comment directly onto my work in whatever form they deem appropriate. It allows the model to take control and alter/manipulate my images which result in unique, unexpected and always fascinating works of art showing creative and professional collaborations between myself as the photographer and the model with her response as an artist.

ideas of landscape. This is drawing on ideas form Derrida; the notion that presence must always follow absence. Therefore we cannot fully ‘know’ landscape without also referring to the indiscriminate absences within it. This principle can be reflected in the notion of photography itself.

HANNAH LEWIS Surface Cornwall has an area shaped by the China Clay industry, which is now rapidly in decline. My photographs explore the relationship between the capitalist culture of today’s society that encouraged the creation of the man made clay pits and the imprint of

nature adapting to the environment. The transient surface of the clay pits are impressionable and the weather clearly leaves it marks creating natural sculptures most commonly created by rain fall and water flow. It is through these natural sculptures that I explore the delicate relationship between the natural and the artificial.

FRANCESCA JACQUI HOARE Low Spirits I’ve always avoided addressing my ‘problems’ head on, so to undertake an entire project devoted to my emotional and physical pain was quite draining. This project was an attempt to immerse myself in my work, to 8

become emotionally attached to the images because they represent me in all ways. Self-portraiture plays a large part in this series as well as a study of how my surroundings make me feel, and I think that as ever; my bid to be truthful results in feelings of sadness and claustrophobia.

RYAN KERSWELL Douwe Ebgerts Live Brief My recent practice reflects an interest in advertising photography, working with a live brief to find a new way to bring Douwe Egberts coffee back in to the domestic environment. The project is based on representation

and association, where everyday objects are used to signify Douwe Egberts’ product range. This form of photography reflects my own aspirations to work within the advertising industry, responding to commercial project briefs.

REBECCA BRITZ Red Planet. The image shows an abstract view of what another world might look like. It arose out of a process of exploration, in which I started out searching for ways to represent the Four Elements (Earth, Air, Fire, Water).  My search changed course, leading me to experiment with different ways

BRIENNE FILLINGHAM BATHIE Shh...Selling Second Hand This project explores how belongings, which once likely held sentimental value to someone, are recycled, through charity shops, thrift stores and car boot sales, to become part of someone else’s

in which the Four Elements might be used to create images of fantasy, images which appear to be have been painted by an artist’s hand or offer a glimpse of ‘other worlds’, a world such as the Red Planet.

story. By delving into the world of little cluttered second hand stores my aim is to understand the worth of possessions and why so many people are attracted to ‘vintage’ objects, what is the allure of small shops full to the brim with second hand belongings?


IONA DAVIES Night for Day Making all of my photographs at night and personally being a night person, I have explored the theme of insomnia within my work. I have undertaken two contrasting projects alongside each other to achieve this theme. In one series I have used

lit structures and long exposures to create a set of strong and solid representations as a metaphor for my confidence at night. My second series features abstract and more detailed images, taken whilst I go on night walks, reflecting the uncertainty of the night.

This project is an illustration of Ancient Greek Methodology, concerning the creators and guardians of the universe the great gods and goddesses. Helios, son of Titian Hyperion, is the Greek god of the sun believed to be handsome and crowned with the shinning aureole of the sun, dwelling in the clouds he draws the sun across the sky with his chariot driven by fire darting steeds.


SAMUEL NORRIS Noblemen, Scientists and Poets Visceral image maker Samuel Norris uses photography and moving image to explore the transformation and notion of time in photography –both in the split second of image making, and also the images’ and subjects’ perceived

WATCHARAPORN BOOM SRI-UTHAI Foreign British Migrations of the human race from one land to another in search for hope and opportunities have always been a common pattern in humanity all over the world. In Great Britain contain many of those who migrate from their birth land, settle and adapt to their new

Shadowing The objective of the project was to go beyond the ‘decisive moment’, to follow the subject and document their passage. The aim was to

Today & Everyday My work is an isyocyrcratic responce to the questions that arise from the everyday and the little stories that come to define our day to day existance. 10

environment and culture; those who has been granted rights settled in the new land, embraced their new beginning here in Britain. This documentary study offers series of images from a foreign British prospective in search for foreign British, to illustrate the face of people in foreign land and question the matter of nationality.



changes over time. As well this, his work explores the way in which people react to the presence of a camera and the act of being photographed and details these feelings within the process – we have our pictures taken many times throughout our lives, but how do our feelings change with different situations?

“We are led into a wonderful world, we meet one another here, greet each other---and wander together for a brief moment. Then we lose each other and disappear as suddenly and unreasonably as we arrived.” - Jostein Gaarder, Sophie’s World

be inconspicuous, for if the person were to be aware of my presence it would shatter the one sided observation. Multiple threads of narrative intertwine across the series, separate lives, connected by only the city they live in.

MARC MACNAB Lots Done, Lots To Do The work investigates the effects that the loss of mining and engineering industry has had on the immediate town of Camborne, Cornwall.

The town once being one of the wealthiest areas in the UK has seen a sharp decrease in financial stability over a 30 year period, since the closure of South Crofty Tin Mine and surrounding mine’s, and the closure of the Compare Holman’s engineering factories. The work focuses on the

main town; shops, local shop keepers, and the immediate outskirts feature to present a contemporary social document.

BRYANA FERRIS Secret Conversations

CAT VEZMAR Don’t Feed the Seagulls This work is an exploration of tourism looking at coastal businesses in and around Cornwall, stemming from my fascination with the sea. This work touches on the hardships of seasonal employment, and how

MATTHEW MARTIN Utopia Is Not 41 “Utopia lies at the horizon. When I draw nearer by two steps, it retreats two steps. If I proceed ten steps forward, it swiftly slips ten steps ahead.

The path is an extension of walking, the places set aside are monuments to that pursuit, and walking is a mode of making the world as well as being in it. Thus the body can be traced in places it has made; paths, parks and sidewalks are traces of the acting out or imagination and desire; walking sticks, shoes, maps, canteens and backpacks are further material results of that desire. Wanderlust by Rebecca Solnit.

out of season, these little villages and towns are so quiet and desolate, yet in peak season they are thriving tourist destinations that never stop.

No matter how far I go, I can never reach it. What, then, is the purpose of utopia? It is to cause us to advance.” Eduardo Hughes Galeano

SARAH LEWIS Lunar Quarry This image was taken along the 2 mile stretch of road that carves its way through Preston Manor Quarry, Chudleigh Knighton. As moonlight strikes the white clay of the quarry, Earth’s own lunar

landscape appears. The camera’s long exposure revealing new colours and shadows; transitions that are invisible to the naked eye.


LAURIE CRAYSTON Coldest Winter Using a mixture of landscape photography and self portraiture this work is a portrayal of my emotions over a period of time. In the project I also set out to examine notions of self, identity and my relationship to place.

REBECCA MEAD Knowing God Personally This body of work explores concepts of belief, meaning and satisfaction. Why is it in our nature to always yearn for more than we have or feel that something is missing? What are we looking for to fill the void we feel within us? To

LUCAS PAUL SHAW Faith Landscapes from home, screenshots of a loved one, portraits taken over meals and quiet excerpts from everyday life; together they tell a personal story of

opening up, and explore the different relationships and feeling encountered along the way. My current practice concerns love, faith, change and happiness, and is talismanic of moving forward.

ROSEANNE HILL Traces. The China Clay industry, imperative to the history of South West England is fast disappearing, likewise the photographic industry’s analogue traditions, are being dominated by the digital age. Before these traces of industry become extinct, I have attempted to record some of the 12

put our expectations and faith into the unknown my practice poses the question: ‘can religion provide ones life with purpose and direction?

geological sores left by the china clay works using analogue photographic techniques. I have then manipulated the films by soaking them in clay and water native to the sites I photograph, before processing. This is to emphasize the tactile elements of a photographic print, a rarity in the digital age.


BRINK 2013 Lectures Dr Simon Standing | Dr Carole Baker | Professor David Chandler Professor Jem Southam | Professor Liz Wells | Stephen Vaughan Oliver Udy | Heidi Morstang | Julie McGregor | Tamany Baker

Students Jennifer Austin Lena Baker Lisa-Maire Beddis Rebecca Britz Laurie Crayston Iona Davies Katie Emmett Bryana Ferris Brienne Fillingham-Bathie Sam Fleming Sarah George Lilianna Gilbertson Patrick Graham Nicole Hains Rosie Grace Hill Francesca Hoare Georgie Holcombe Ryan Kerswell Rosie Kliskey Gabrielle Latifi Hannah Lewis Sarah Lewis Marc Mcnab Kimberley McNamara Amy McDermott Matthew Martin Rebecca Mead Emily Moss Samual Norris Stephanie O’Callaghan Adam Oseland Oliver Prowse Rachel Phillips Lucas Paul Shaw Watcharaporn (Boom) Sri-Uthai Oliver Stanton-Granger Samantha Twitchett Catherine Vezmar Ella Watson Graham Wheaton Printing

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