H O PE
PA I Z HENG
YVONNE TETTE RF I O
K ERRY S T J OHN
HA NN AH S TANIF O RD
SZYM ON S LES IC K I
M AMU N MO JLI S H
DA VID MARIN HO
N ASIR MALIK
SIM RAN KAU R
K UM ARE SAN K AN AGA S AB ES AKKU RU KK A L
B RON WYN JO NE S
LUISA I AC U ZI O
RHYS C ARP E NTE R
JOHNANNES NHLANHLA AT Z INGER
H O PE The covid-19 pandemic has been an unprecedented global crisis; a major public health emergency which has led to economic insecurity, isolation, confinement and tragic loss of human life. Across the globe, lives have changed in unpredictable ways: the ways we live, work, study, move within cities, socialise and meet with the people close to us have all been affected. Change has ceased to be something for the future - it has already occurred, and it has had unanticipated, far-reaching and profound effects. In the midst of this uncertainty, space for hope has emerged; hope that we can re-think and re-imagine the ways in which we organise our lives and collectively shape a hopeful and sustainable future. From the dolphins famously returning to the Venetian canals to city skylines no longer being obscured by the rising fumes from roads and industry, there have been some clear visual indications that hope is possible. The rapid progress of the various vaccines, which to so many people represented the possibility to escape isolation, show how advances in medical science continue to be made. At the same time, the pandemic gave people the time they needed to reconnect with themselves and one another, and this was expressed through self-discovery, and acts of selflessness towards the planet, and its inhabitants. The selfless acts of individuals, such as doctors and nurses, elderly and vulnerable people’s carers, teachers, grocery shop workers, cleaners and domestic workers, who risked their own health and safety to keep us fed, safe, clean and cared for, created a very strong sense of community. As a result, our perceptions about essential labour have changed, urging us to rethink workers’ benefits and rights. The re-emergence of the Black Lives Matter movement has also been a hopeful sign that the struggle against inequality and racial discrimination can and will be addressed here and now. Alongside the Black Lives Matter global protests, ongoing women’s, ethnic minorities’, and LGBTQ+ community’s struggles across the globe can offer some hope about creating stronger democracies based on equality and inclusion. All these global socio-political and economic changes have been visualised by photographers around the globe. Photographs reached us in our confinement reminding us of the unique power of the medium
to address major global issues and transcend geographical boundaries. Photography students at the University of East London have been no exception. Hope brings together the work of Level 5 photography students, who have explored the power of photography to document the pandemic, reflect on a rapidly changing world and explore alternative ways in which we can look at the world and imagine a better future. Hannah Staniford, being herself vulnerable and at high risk, reflects on the light that the discovery of the covid-19 vaccine brought to the darkness of her self-isolation. Light as a metaphor for hope is also being represented in Mohammed Nasir’s project, while Pai Zheng’s plays with the importance of our self-experienced inner-light, as a source of bringing change about. Simran Kaur, taking as a starting point her childhood’s fascination with the Arctic, casts new light on the power of recycling. By using material that cannot be recycled in her work, she puts emphasis on the importance of taking positive action towards sustainability. From another point of view, recycling is addressed by Rhys Carpenter, who explores the importance not only of recycling, but also of re-purposing things to tackle the environmental impact of waste. Overconsumption, as another factor detrimental to the environment, is addressed by Bronwyn Jones, who re-photographs her Polaroids featuring distorted and damaged plants to encourage the viewers to think about the relationship between human self-centred consumerism and the environment. The interconnectedness of natural and man-made world is at the centre of Kumaresan Kanagasabesakkurukkal’s project, which also seeks to bring awareness of climate change. In a similar vein, David Marihno depicts how the peacefulness found in nature can act as an antidote to man-made problems. Taking as a starting point that humans show empathy towards other living things based on how distantly related they are, Johannes Nhlanhla Atzinger appropriates ‘human-looking’ features of Google Earth to address issues of empathy and compassion towards the planet. Human compassion and the power of community is at the heart of Mamun
Mojlish’s photographs of kids in an orphanage in Bangladesh, who raised funds from the community to keep the orphanage going the midst of the pandemic. Yvonne Tetterfio, in her photographs of children in Ghana, represents hope as expressed in children’s ability to carry on in adversity. Hope can also be found in university students’ persevering and thriving through the pandemic, despite their struggling to carry on with their university work under tight restrictions, as Kerry St John’s work reminds us. Kerry uses flowers as a metaphor for the beauty and fragility of the young student body. Flowers, in particular cherry blossoms are also used by Szymon Slesicki, as a symbol for spring and renewal, as well as a reminder for humanity to seize the present moment for positive change. Luisa Iacuzio uses tarot cards to symbolise humanity’s journey through the pandemic to the current moment, when we can all reflect on the opportunities for renewal, rebirth and new cycles of life. All projects unravel the complexities of our current circumstances, hoping that the uncertainty ahead can bring new possibilities for positive change. JOHANNES NHLANHLA ATZINGER (LEVEL 5 PHOTOGRAPHY STUDENT) ANTIGONI MEMOU (COURSE LEADER FOR THE BA IN PHOTOGRAPHY)
JOHANNES NHLANHLA ATZINGER
Country of origin: Austria/Zimbabwe LOVE THY NATURE
Humans show more empathy and compassion towards other living things based on how distantly related they are. ‘Love Thy Nature’ aspires to use this idea to extend those same feelings towards the Earth by finding ‘human-looking’ features across the landscape and encouraging readers to do the same.
INSTAGRAM: LUCKYPEWPEW
RHYS CARPENTER
b. UK PURPOSE
‘Purpose’ is an attempt at exploring the purpose and sometimes re-purpose of things we make use of and eventually leave behind. The commonly used term reuse, reduce and recycle comes to mind, yet often when approaching the environmental impact of waste, the focus is placed only on the recycling process. The current circumstances have encouraged me to take another look at how we use things what is made use of and what is being wasted.
1) 22°11’51”S 29°13’38”E 2) 22°09’09”S 29°36’17”E 3) 22°11’26”S 29°22’02”E
EMAIL: CARPENTER.RHYS@GMAIL.COM
LUISA IACUZIO
b. Italy REDIVIVUS
‘Redivivus’ is a series of images taking as an inspiration Caravaggio’s figurative paintings, in terms of the use of light, such as Chiaro Scuro and the theatrical elements. Each one of the photographs is a self-portrait representing a tarot card. The pictures describe a society’s journey trough the pandemic. Starting with The Fool, a card that represents a society full of hidden potential, the series continues to The Tower which stands for an unexpected event that collapses reality. The Devil shows insecurities, which are then solved by The Hanged Man, denoting a forced sunspension, but also an opportunity for reflection. Reflection is mastered by the card Temperance, bringing balance. The Lovers are the embodiment of true self love, and finally Death, which as macabre as it may sound, represents rebirth and beginning of a new cycle. The project aspires to show that new cycles can only take place through inner transformation and a new found compassion for ourselves and others.
EMAIL: INFO@BLACKDALHIAPHOTOGRAPHY.COM
I
II
THE FOOL
T H E TOWE R
III
IV
T H E D EV I L
THE HANGED MAN
V
VI
TEMPERANCE
THE LOVER S
VII
BRONWYN JONES
b. UK POISONED BY THE MOONLIGHT
Poisoned by the Moonlight is a series of polaroids featuring distorted and damaged plants which stand as metaphors for over-consumerism and its toxic effect on the environment. Each polaroid has been damaged during the development process with materials that continue to damage our environment today, creating visuals that are both beautiful and disturbing. The damaged polaroids have been rephotographed within the environments that they were originally shot in, creating a strong sense of place and further encouraging the viewer to think about the relationship between human self-centred consumerism and the environment.
D E AT H
EMAIL: BRONWYNGJ@GMAIL.COM
KUMARESAN KANAGASABESAKKURUKKAL
b. Sri Lanka NATURE VS HUMANS
Nature Vs Humans show how humans oppressed nature for their comfort. Climate change is a man-made problem and the developed world is largely responsible for it. Humans impact the physical environment in many ways : overpopulation, pollution, burning fossil fuels, and deforestation. Changes like these have triggered climate change, soil erosion, poor air quality, and undrinkable water. My photomontage addresses climate change.
INSTAGRAM: KUMARESAN1732
SIMRAN KAUR
b. Italy THE WONDERS OF THE ARCTIC (2035)
The Wonders of the Arctic (2035) showcases how our childhood can be a source for our hopes. By looking back at her childhood and how she used to love the Arctic and wanted to make a change, Simran found hope for the future of the environment and understood that changes take time. Simran reused leftover clay to create sculptures of Arctic animals and icebergs. These sculptures were painted with vivid colours to symbolise her childhood and hope. She also collected plastic films, which were washed and then reused in her project to create icebergs. The project promotes the reusing of materials you can’t recycle and showcases the Arctic that Simran wanted to see when she was a child.
INSTAGRAM: SIMRAN_K_01
NASIR MALIK
b. UK HOPE IN THE DARK
A certain type of darkness is needed to see the light.
INSTAGRAM: NASIR.MVLIK
DAVID MARINHO
b. UK raised in Brazil NATURAL EQUILIBRIUM
“Saying we need to find a balance between our man-made issues and the hope and peacefulness found in nature.” The lockdown has been silent all over the world. As a photographer, I wondered into peaceful nature and away from man-made, busy city areas. My images urge viewers to look at the beauty of nature and clear their minds from the busy city life. They can act as a gateway from reality and an escape from the real world for a moment in order to think of a better world and a better future.
INSTAGRAM: 019803_
MAMUN MOJLISH
origin Bangladesh ASHA
‘Asha’, which in Bengali roughly translates to ‘Hope’, is a series of images taken in an orphanage in Bangladesh. Most orphanages in Bangladesh are funded by mosques, which raise money by donations from visiting worshippers. To reduce the spread of covid-19, government has banned worshippers to go to mosques, which results in the funding having almost stopped for these orphanages. A group of 8-10 youngsters, came up with the idea of raising money from the local community for this orphanage. Every week they aim to raise £100 so they can help to feed these children. Citizens are stepping up to do what a government should. It shows when the authority fails to guide and help, it is the power of the community that helps you to survive.
INSTAGRAM: NOMADIC.RAT
SZYMON SLESICKI
b. Poland SAKURA
Cherry blossoms are a symbolic flower of the spring, a time of renewal, and the brief nature of life. The life span of cherry blossoms is very short which links to our life as a human too. If we do not live in the moment, before we know, we can find ourselves in the end of our time. These flowers can remind us to enjoy the peaks of our lives and stay in the present.
INSTAGRAM: @SIMON_SLESICKI
HANNAH STANIFORD
b. UK LIGHT AT THE END OF THE TUNNEL – FREEDOM
Freedom concerns Hannah’s journey out of this darkness imposed to us by covid 19. Hannah was a vulnerable/high at risk and she had to isolate for over a year, which lead her to feel disconnected from reality. The discovery of the Covid vaccine was the best thing that ever happened to her, because it was the key to her freedom and was just the beginning. Strongly inspired by Richard Kovacs technique with using vibrant colours and front lighting, Hannah used high angle composition and vibrant colours, which represent her hope for the future and represents her finding the way out of this dark situation. Hannah’s project was very experimental: she didn’t just devote herself to capturing the syringe, she also captured the medical tubes, which stand for the process of the vaccine being created.
INSTAGRAM: HANSTANIFORD
KERRY ST JOHN
b. UK PICKING UP THE PIECES
Picking up the pieces is a series of images about the coronavirus pandemic. My project portrays the struggle of students carrying on with their university work whilst under tight restrictions, and having limited communication with their teachers and each other. In my images, I wanted to show how students were badly affected by the fact that have not not been allowed on campus. The pressure was really building up, keeping their work up to the best possible standard. I use flowers as a symbol for a person: flowers can be beautiful on the outside, but fragile on the inside.
INSTAGRAM: KERRYLOU_PHOTOS
MARY YVONNE TETTERFIO
b. Ghana HIENO KAMO (HOPEFUL)
Hieno Kamo, which means hopeful in Ga language from Ghana, insists on the ability to see light in the dark times we live through, focusing on children as they are our hope for the future. Year 2020 is a year that cannot be forgotten in a long time, the whole world has been affected by the Coronavirus Pandemic. The project conveys hope as the ability to see light regardless of all the darkness. Being hopeful is a great factor when it comes to overcoming life’s challenges, for without it, everything is lost.
INSTAGRAM: TITITETTERFIOPHOTOGRAPHY
PAI ZHENG
b. China GLIMMER
If a person wants to excel, the only way is to shine as much as possible. It’s not that this light can illuminate everything, but a little light in the dark will be particularly dazzling in the distance. Other lights will see your light. The glimmer attracts the glimmer, the glimmer illuminates the glimmer, and then shines together. This kind of light can illuminate the squeezed haze.
EMAIL: PAIPP1028@GMAIL.COM
THE OPEN ROAD Nothing quite terrifies and excites me like the open road, the hardly maintained bridge over barely a stream. No artificial light but mine at night while the crickets sing with the toads. The greenery seems too tall for the limited rainfall, in the distance the cows don’t scream. Air licking flames illuminate inns with the smells of rose and spice, and warmly sites of home while childhood lullaby’s tempt with the promise I’m free. And once every few miles I’ll pass a ghost, their flickering lanterns all I can see, but if for even one second I lean left and touch a single stone, then for eternity a ghost I will be. JOHANNES NHLANHLA ATZINGER
Level 5 Photography students would like to sincerely thank Paul Greenleaf for help with making the publication and Rob Pyecroft for extra assistance. We also want to thank Antigoni Memou and Johannes Nhlanhla Atzinger for writing the introduction and Debra Shaw for proofreading. Special thanks to Mamun Mojlish, Simran Kaur, Scott Coller, Bronwyn Jones, Hannah Staniford and Kerry St John for the help they provided in producing this publication. A special thanks to Head of Department, Carl Callaghan for providing the funds for printing. HEAD OF DEPARTMENT CARL CALLAGHAN CLUSTER LEADER DAN DURAN MODULE LEADER PAUL GREENLEAF TEACHING STAFF: DR CARMEN ALEMAN ROB PYECROFT DR DEBRA SAW DR ANTIGONI MEMOU
© 2021 All works of art, copyright the artists. All rights reserved. DESIGN: PAUL GREENLEAF WITH LEVEL 5 PHOTOGRAPHY STUDENTS COVER DESIGN: KERRY ST JOHN PRINTED AT UEL PRINT CENTRE EMAIL: PRINT.CENTRE@UEL.AC.UK UNIVERSITY OF EAST LONDON
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