On Transience displays the work of graduate students from the MA in Photographic Studies at the University of Westminster. From analogue photography to digital animation, the artists are raising questions about time, identity, culture and individuality. The street and the landscape, the self, the domestic and non-places are discovered from different points of view. This year’s graduates have produced an eclectic, multifaceted selection of innovative work in the experience of transience simultaneously as a group and as individuals. Sixteen new artists encounter with transience in art and life. The result carries the theme forward into the twenty-first century to engage with transience as a photographic, cultural and philosophical condition.
PHOTOGRAPHIC STUDIES MA DEGREE SHOW 2014
MEG BEAUMONT MAX BWIRE ADAM W. BYRA MARIA FALCONER XIAOBO FU DAVY JONES INÈS LION TOM MARSH MARIAH SKELLORN WILF SPELLER SUNSUN LIU SARAH TEHAN MARIA TZILI LOUISE WIKLUND ALIA ZAPPAROVA UMIT ZEYTINCIOGLU
KATHY KUBICKI ESSAY ACKNOWLEDGEMENTS CONTACT DETAILS
IMAGE OVERLEAF: MEG BEAUMONT, UNTITLED, 2014
MEG BEAUMONT
RED SKY IN THE MORNING A little while ago, something quite horrible happened to my family and I. I was going to sit you down and tell you the ins and outs of it, but somewhere along the way I realised that some things are better left unsaid. Besides, I don’t really want to talk about it; I don’t think any of us do any more, the exact nature of what happened to us and our home and after that, our search for a new home. If I were to tell you it would all just be a faraway comment on another person’s lips; a little house on the horizon you will never step foot in. So I’ve decided not to say, if it’s all the same to you. I will tell you one thing, though. We live far away in the country; I have always grown up reading signs in nature. Did you know that when onions are ready to be harvested their stalks fall over? You can tell when it’s really spring when the swallows start making their nests under the eaves; every morning I am woken by the tiny fragile chirruping of their babies. I always know when it has rained heavily in the night; the long grass in the meadow is flattened down on itself like frozen waves on a strange sea. Even the flowers have their own language. There is a meaning everywhere in nature, always a message or an omen to be found if only you look hard enough. Despite everything that happened, domestic life inside our home went on, in this precarious little orbit around everything else that happened to us. Are our houses so different to the land they are built on? The relics of our daily activities began to take on meanings of their own, and I eventually I realised that there are as many signs within our four walls as there are outside. If you are very patient, and you look very hard, and you are quiet and slow enough, homes begin to speak. And in the end they will tell you everything you need to know - you only need to read the signs right. Red sky in the morning; a drop of blood in a bowl of milk.
Inkjet prints, sizes varying from 8 x 8 inches to 30 x 30 inches C-Type print, 30 x 30 inches
Originally from Wales, Meg moved to London in 2013 in order to join the MA Photographic Studies course at Westminster. The theme of her work centres around domestic spaces, family life and the conflicts and narratives that can often be found between the two. Over the course of the past two years she has used a mix of archive photographs, found photography and her own practice in order to explore these themes and issues.
MAX BWIRE
EPHEMERAL The ‘little things’, the ‘little moments’ that we experience and the ‘little decisions’ that we make, define us. Some of these are also made for us unconsciously, building up to who we are, our identity, sexuality and individuality. This project is about individuals that have migrated to this country, their transition into a new environment, as emotional experiences and reflections on the past and what is left behind. There is constant change and almost everything appears to feel ephemeral. In these photographs the favorite pair of shoes owned by individuals who recently migrated to this country are placed in front of the doors where they live. The shoes act as a self-portrait, the representation of an attachment to materiality, which figures as a lot of their unconscious experiences, and defines their identity.
Max is a Ugandan born Industrial and Fine Art Graduate. After starting up a media company with her friends in Uganda, she decided to pursue further education in Photography, influenced by her passion for conceptual photography that borders on the line of documentary, with an interest in human presence and our subconscious.
Six C-Type prints, mounted on dibond, 36 x 24 inches
ADAM W. BYRA
AUTO-PORTRAIT Auto-portrait is a direct inquiry into what the institutional portrait is now becoming, its effect on the boundary between the physical body and virtual self. The photographic portrait has been a fundamental tool for anyone wishing to identify and control groups of people. With recent technological developments like the internet, virtual reality and the birth of biometric technologies, the nature of portraiture as exercised by institutions has undergone a significant change. It is now possible to cross UK border without facing an immigration officer. Pupils in public schools of the state of Maryland, US can pay for their lunch with a scan of their palm. Well known smartphones incorporate fingerprint scanning in their latest products, and many private companies control the access to their buildings and facilities with technologies such as iris recognition. Ultimately, what does identity mean today?
Left: Auto-portrait #1 (retina) Digital C-Type print, diasec mount. 20 x 20cm Right: Auto-portrait #5 (fingerprint minutiae) Digital C-Type print, diasec mount. 10 x10cm
Adam W. Byra was born in Poland and holds a first class BA (Hons) Photography from Nottingham Trent University. For Adam, despite the mechanical origin of photography, it is not a faithful recording of reality: photography is a language system where signs are being created, rearranged and formed into sentences to convey a certain meaning.
MARIA FALCONER
MATTER OF TIME
I am fascinated by the physical language of human beings. How our posture, gesture and quality of movement both defines and expresses who we are.
HD Video 4mins 10secs 3 Projections - Each 115 x 66cm Total: 345 x 66cm Sound: Len Arran
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the quality or state of being a person or thing that is alive and therefore certain to die :
www.merriam-webster.com
Maria Falconer is an experienced professional photographer who works with performers and theatre companies all over the UK. A former contemporary dancer herself, having studied at the Laban Centre in London, she makes still and moving image based work that combine her two passions.
XIAOBO FU
ESSENTIALLY SILENT AND STILL The photographs featured here are shot in frequently visited galleries and museums in U.K. If asked to recall the memory of the last visit to an art gallery or museum, probably a large proportion of people will recollect some experience of amazement accompanied with frustration: amazement at the pleasure of seeing, while frustration with ‘failing to appreciate’ the work. Art as objects have properties, which are ‘open to all but enjoyed by a few’, and always bound up with mystification. Apart from its aesthetic value, objects also serve for religious, social and political purposes. The story of how art works ‘survived’ in history and are chosen and displayed in public is all coded with the will of state machinery, certain institutions and people in power. Art is not merely a silent and still object such as a painting or a sculpture, but rather a combination of this tangible object and an evolving context around it. Yet, when art is displayed in a gallery or museum, most part of its context is usually intentionally or unintentionally ‘neglected’ by both the institutions and viewers. This project looks into the debate surrounding the display of art.
6 Inkjet prints on Dibond, 47 x 33 inches (118 x 83cm)
Xiaobo Fu is a visual artist and fashion photographer based in London and Shanghai. His work usually combines elements of classical aesthetics and modern minimalism. Technical perfection such as strict composition and skillful digital editing is shown in his work.
DAVY JONES
REFLECTIONS OF CAPITAL It was the carpets that drove me onto the street. They were, in Gavin and Stacey vernacular, lush. Acres of lush, fashioned to clarify speech, as in an expensive recording studio, no detail accidental. For years I had photographed company board members, frequently in the boardroom. Expensively appointed, secluded and mostly off limits to all but the anointed. Mostly. There was seepage: the cleaners, the serving staff, the gatekeepers, me. Fissures in the cocoon, unattended by the anointed. Here was order and hors d’oeuvres. Indiscreet conversation with the CEO’s Personal Assistant: ‘Is he impressive, intelligent, competent? ’ ‘Him? God bless him, he doesn’t know what day of the week it is’. From the viewpoint of the boardroom the street below appears ordered, but outside, on the street, the order frays, disorder creeps in like an unloved relative at a family funeral. Light now creeps in too: the shimmering modern towers reflect light into the once shaded city streets, highlighting the servants, not the masters, who rarely venture out onto the street. The unanointed irresistibly transformed, not into a joke, but socialist realist heroes. On their lunch. A psycho-geographical shift, mirroring the light beginning to creep it’s way into the resistant shadowland of capital. Light versus hubris, no sign of nemesis. Standing still, the London crowd stutters against me. And I think of my mother, apprenticed at 14 as a milliner, skills later made redundant by the demands of capital. Widowed, burdened by us and finally crippled by menial work. Definitely unanointed.
INÈS LION
AFFINITY This is how it ended. At first, petals drew away from flowers, seas dried, ice melted and cocoons never hatched. Then, little by little, empty frames became inhabited; on walls in wallets, on dressers in albums. This wouldn’t occur naturally. Flat, angular, colourless or not: these new elements were made by man, for man. People would look at them wondering what they were; but they would instantly recognise what they represented. It was as if our habitat had been duplicated. Faces, deer, roses, cakes, chairs – all that surrounded us – started to look more real in these replicas than in reality itself... At that time, somebody, who still had a fully conscious mind, told me they were hyperreal. Many were deceived. When naturally occurring life was completely replaced, the memory of it became blurry, like echoes becoming less and less audible. Taste, odours, touch - everything that made us feel human vanished. We were left with the empty figure of things; what they used to represent only. No tears were shed. A soporific veil enveloped people, preventing them from feeling. And soon, everyone was lost to contemplation, seduced by illusion, frozen in a world of exactitude.
HD video on two 47 inches screens with voiceover, 8 min, projection ratio 16:9
Born in Strasbourg (France) in 1991, Inès completed a BA in Visual Arts in Paris and went to London to specialise in photography. Somewhere between slideshow and short-film, her work mixes photography, sound and sometimes video. Alongside her personal projects, she is a freelance photographer and journalist and worked at the International Festival of Photography «Les Rencontres d’Arles». .
TOM MARSH
NEUROTYPICALS Neurotypical (noun): A person with no autistic traits.
Night has fallen and clarity has been placed upon the shackles of the multisensory, sociable world we, as human beings, are forced to inhabit. Alone, away from the bright lights of society that dot the valley below, the ability to breathe, to think clearly, injects veracity into a life infected by ambiguity - the serenity of darkness emancipates the mind. As darkness falls, the neurotypical’s sense of sight is severely impaired. Blind to obvious obstacles they stumble and collide with surrounding foliage. An impending threat of psychosomatic malevolence initiates their inherent fight or flight mechanism and masks all rational thought. An irrepressible desire to flee to a world with which they conform eradicates any adherence to social expectations within this environment. Social signifiers, determining how we interact with others, constantly rule our lives. When dampened or lost all together, the ability to communicate is compromised. Those on the autistic spectrum will often generate coping strategies to deal with a world into which they do not conform. Darkness can be a healer as hypersensitivity is quelled and isolation form social situations calms an over stimulated mind. ‘Neurotypicals’ juxtaposes everyday experiences of the socially proficient and the socially anxious. Displaced in the darkness, the feelings of those without autistic traits are mirrored by those on the spectrum when placed in social situations. The work highlights the transient parallels between neurological ability and disability, looking in upon the neurotypical as they come to terms with an alternative way of interpreting the world.
Top: NEUROTYPICAL #1 Inkjet Print mounted on MDF, 47 x 33 inches (119 x 82cm) Bottom: NEUROTYPICAL #2 Inkjet Print mounted on MDF, 47 x 33 inches (119 x 82cm)
Tom’s recent work explores autistic spectrum disorders and how, in a world dominated by the socially proficient, the social outsider can make their mark. Alongside his provocative project work, Tom’s successful photographic tutoring business, ‘Yorkshire Photo Walks’ continues to grow.
MARIAH SKELLORN
THE PIONEERS 2014 How did life begin on Earth? This is a question that is asked in the past tense, but if much of life as we know it were to diminish, how would life begin again? What would be first to appear? All of this would depend on the exact conditions on Earth and the changes that had taken place. In The Pioneers, a photographic animation, the artist has created a series of landscapes where life is on the brink of re-commencing. In a set of imaginary conditions bees scour a variety of landscapes in search of a suitable habitat. The bees are an unlikely presence in the barren conditions shown, yet symbolic of a species for many other lifeforms to flourish.
HD Projection (2000 x 1012cm) with surround sound, 6.30 minutes (sound design by Marco Tacchino)
Mariah Skellorn graduated with a BA Photography from Edinburgh College of Art in 2007. She teaches photography in secondary schools and has exhibited in the UK and internationally. Her work uses both composite landscape images and computer animated elements to explore the uncanny effect of converging still and moving image.
WILF SPELLER
BLKBX.MOV, 2014 Black Box (noun): A device which performs intricate functions but whose internal mechanism may not readily be inspected or understood.
Formally borrowing from internet aesthetics ranging from YouTube conspiracy videos to instructional desktop demonstrations this piece uses new imaging perspectives to explore the notion of the Black Box as gesture of power and ideology, gestures founded in faith and illusion. The Black Box has sublimity beyond visuality; by definition it is non-visual, a prosaic nonobject, yet it has greatness beyond all possibility of calculation, meaning, imagination and imitation; a vertiginous construct; a hall of mirrors. This is the paradox but also the power of the Black Box.
HD Video projection16:9, 6 mins, 280 X 158cm
Having graduated with a first class (hons) BA in Film and TV Production I then went on to study the MA Photographic Studies at the University of Westminster for which I was awarded an AHRC grant. I work in a variety of mediums and my work concerns the politics of contemporary image culture, something that I am also writing about. My dissertation is entitled Document as Event and explores the complications of the power of images in rights claims from political activism to civil war images.
SUNSUN LIU 劉桑
FISH OUT OF WATER “When I first moved to the UK I found living in a new and - to me - alien culture extremely difficult. Two years later, I have started to accept those differences. And now I come to regard this culture as my home.” --sunsunliu.com This project is about cultural differences and social barriers. It charts the self-consciousness each Chinese woman feels as she moves from China to the UK, where she is obliged to adjust to a new social and cultural environment. We are like fish out of water until we find a new home.
Sunsun Liu is a Chinese photographer and visual artist who lives and works in London. Her work often focuses on the diasporic nature of modern life especially from a female viewpoint. She often uses water and builds a narrative within her photographs.
7 framed inkjet prints, 70 x 100cm 1 video, three channels, 1’12’’ (loop)
Left Siqi & Zixuan Middle Luya Right Shuy
SARAH TEHAN
CICATRIX The black remnants of the machine’s ink mixes with the excretions of the subject, leaving a vile stain on the surface below. The open wounds bleeding of life, its purpose and meaning destroyed by the work of the machine. At the sixth hour the machine’s torturous treatment stops abruptly; leaving the subject covered in its own fluids, now blackened by the ink. Water is poured on the subject’s broken, dehydrated skin. This is not done for the benefit of the subject moreover to inspect the machines workings. On completion of the inspection the subject is dismissed with wounds left open for the sun to dry out. Over time the wounds heal with leathered scars. The subject forever scarred with the black ink floating beneath the surface of the now leathered skin.
The scars within our skin tell stories of our pasts; some are treasured, some despised. Others are of our own choosing, they tell the stories of the wearer’s life. These are the scars of self-torture, of self-harm. Tattoos form a new skin, a shell of protection. They are self-made, an inflicted form of cicatrix scarring. Fruits skin acts in the same manner; it tries to repair its self, protecting its seeds from the outside by forming cicatrixes. The skin of the fruit bonds with the tattoo ink creating scars, leathered in texture. These scars form a protection for the fruit, but it also changes it’s meaning.
C-Type pints, acrylic face-mounted, aluminium back, 20 x 30 inches
Sarah Tehan is an internationally exhibited artist and speaker on alternative photographic practices. She graduated from the University for the Creative Arts, Farnham with a first class honours degree in Photography. She previously graduated from the University of Kent with a degree in Forensic Science. Her work incorporates ideas and principles founded in both science and art to form unique subjects and imagery.
MARIA TZILI
FEAR AND DESIRE That moment when, for an instant, time stands still. You do not know what comes next and what has already happened does not really matter anymore. Anxiety becomes an obstacle, which becomes harder to overcome every time you give up, and the need for change is the motivation to bowl over it. What remains of your earlier escape mechanism becomes the notification of an illusionary danger which is, however, very vivid. The scene is constructed by unforeseen factors, far away from your comfort and settled routine, where you cannot know what to expect. You are in a place you have not yet explored with someone whom you haven’t yet figured out. The first ‘dangerous’ moments between two people when these feelings can be found in the transience of time: finite situations. The difficult part is to come to a conclusion. There is no single truth, rather countless points of view and above all yours. You have to decide what you believe and when you do, don’t hesitate, do not be afraid to stick to it because this is as close to a truth as you can get. Go back to those moments again and recall the feeling. Fear and desire, as a vicious circle, become the inevitable premonition for each other.
6 images, C-Type prints, framed, 42 x 63cm
Maria Tzili is a visual artist, mainly focused on photography. Born in Greece, she is currently based in London. Her work focuses on the influence of social norms on life choices and the emotional interactions between people, both approached through portraiture.
LOUISE WIKLUND
EXPOSURE “They all looked proud and somewhat shy when I asked if I could take their portraits. Surprised that someone took an interest in them, more than in the work itself, they allowed me to take the pictures”.
Wanting to be seen and to hide at the same time. Graffiti artists constantly have the pending threat of facing consequences for displaying their work. Many choose to protect their identities and reputation by remaining anonymous, which may be due to various reasons. Some prefer to paint in designated graffiti areas, giving them a legitimate canvas to execute their art. With what could nearly be seen as an addiction, there is an enormous amount of hard work and commitment that goes into the work. Passion, dedication and exertion outline a devoted artist. For some graffiti may just be a thing they do, however, many are truly passionate about what they are into. It is a way of life. Graffiti is beginning to gain some recognition from the art world and is slowly becoming an acceptable art form. In his essay On Transience (1915) Sigmund Freud wrote: The beauty and perfection of a work of art should not lose its worth because of its temporal limitation. Limitation in the possibility of an enjoyment raises the value of the enjoyment. Transience of what is beautiful does not involve any loss in its worth. Exposure is a series of portraits depicting artists from all corners of the world coming together to paint in one place, independently but with a shared passion – Graffiti.
Untitled, London 2014 4 images, black and white resin prints, framed 75 x 75cm
Louise Wiklund was born and grew up in Sweden. She studied fine art and photography in Denmark before setting off to London for further studies and work. Past projects include photographing lady boys in Manila, music artists in Bahrain and beer drinking goats in the Czech countryside. The fascination for graffiti began in the suburbs of Boston USA in 2011, and has been an ongoing project since. She lives and works in London.
ALIA ZAPPAROVA
DAYS / LIGHT Day after day, while we go about our days, in day lit rooms, a day takes place. The everyday inhabits time that passes in the form of stillness and space where light moves but nothing moves. While living, we do not experience the day: we experience actions and events. We do not see light: we see visible things. But the daily movement of light through rooms makes days, composing a setting for a time without direction. The aim of this work is to evoke an everyday that is not about the events and accomplishments of daily life, not even about its habits and routines, but about the rest: a time and a space to the side of activity, where nothing happens.
Wall installation, 250 x 100cm, unmounted inkjet prints, variable dimensions Books, 12 x16cm
Alia Zapparova is a Russian photographic artist based in London. She has a background in philosophy, and in her practice explores the nonstories and non-events of the everyday. She works with analogue cameras and also makes books.
UMIT ZEYTINCIOGLU
APOCRYPHAL Her mother was too young, she had expectations and an unconditional love that she was ready to give. It was a struggle that was never understood properly. She wrote diaries about her daughter, addressing her, yet revealing everything about herself; knowing that one day she would read and she would understand. She did but after a painful and very emotional discovery. She thought she was misplaced, didn’t remember it quite right. This is a story about reinventing the past. It is about the story that we thought we knew well, until it was told again. Apocryphal is a photographic representation of written diaries. In this personal subject, the artist is confronting her actual past with a fictional alternative. Using photographs to produce fictional memories to replace the ones written in her mother’s diaries. Taking an impressionist approach when producing imagery, the work is balancing on the reliability of a memory and in a sense, the discovery of the self. Memories are never crystal clear or in incredible detail, there is always something missing. Each photograph and each piece of text are there for a fraction of memory that we grasp to remember. A passing sight is what we are left with in order to accept who we are.
40 Images (20 Photos and 20 pieces of text) each the size of 8 x 6 inches Each image will be inkjet printed on matte photographic paper and will be mounted on foamex Each image will be 8 x 6 inches (20 x 15cm)
Umit Zeytincioglu is a Cypriot photographer who always felt more at home in England. After leaving her journalist background she moved to London to explore her passion in contemporary photography. She is using her cultural duality to inspire her photographic work.
ON TRANSIENCE In reviewing ideas of ‘On Transience’ and photography, a complicated relationship develops between the transient, yet at the same time permanent nature of the photographic experience. On one level the very act of photographing is associated with terms such as fixing, staging, archiving frozen or stolen moments to keep. Roland Barthes notes that, for the viewer, the wound is embedded and etched in the psyche and exists long after the experience of seeing a certain image. Yet the moment of the photograph’s inception has passed and will never exist again, resulting in a state of impermanence. In Sigmund Freud’s writings a wish for immortality is what underlies the idea of transience, a defiance of the finality of death. The death drive is present in the unconscious from the moment of birth, a painful and unimaginable experience; to remove this form reality is our aim. Nature becomes part of the equation, an impossible desire to hold on to beauty and perfection. According to Freud, transience relates to insufficiency in time, the reality versus the pleasure principal, as to limit gratification raises it’s value, hence the joy in the transient possibilities of nature. This fleeting notion of the photograph can be mapped on to notions of dissatisfaction as something inherent in photography, and of the human condition. The opposite to this is abundance, in photography this is an interesting idea to contemplate currently; images on the Internet and digitalisation have all added to the number of photos that exist in the world, is this lessening the value and experience of photography, or adding to it? The digital excess of capturing images has resulted in scarcity of the printed photo. Does this lack of materiality of an object to hold, become part of the need to repeat, to constantly take and upload images, as the time sequence for these activities is reduced to seconds? This overload of photographic possibilities can make for banality, yet at the same time photographs can be fetishised, highly desirable and infinitely reproduced. The idea of reproduction defies the idea of the power a single image has in relation to the digital, and that forms a challenge for today’s emerging photographers. And so naming this exhibition On Transience is a comment on the culture and experience of the production and consumption of photography today. New contexts, new technologies, new avenues of display, all adding to this state of impermanence, resulting in fleeting glimpses, restless viewers, changing viewpoints, and the unfixing of meaning. The issues involved not only affect photography itself, but also the way we live our lives today, and our individual and collective futures in a fluctuating and turbulent world. The work on show explores these ideas and contexts and exemplifies the capabilities of photography: the power of photography to engage us, to move us, in a transient world to permanently etch an image in the unconscious, to furthermore expand the fascination of the image repertoire, and photography’s endless possibilities. KATHY KUBICKI, August 2014 Kathy Kubicki is a London based senior lecturer, writer, artist and critic, and founding editor of the journal Photography & Culture (Bloomsbury UK)
ACKNOWLEDGEMENTS We students would like to thank the photography department at the University of Westminster and the technical staff across the media, arts and design faculty for their continual support, encouragement and inspiration across the last one or two years. Thank you to our course leader David Bate, Andy Golding, Eugenie Shinkle, Mitra Tabrizian, Shirley O’Loughlin, Ulrike Leyens, Neil Matheson, Frank Watson, Allan Parker, Nina Mangalanayagam and Layal Ftouni. We wish to express our appreciation for all of the time and energy that everyone involved has invested in our final group show. We are also incredibly honoured to have welcomed Gemma Padley, Lucy Souter, Paul Hill and Brian Griffin to participate in our panel discussion, thank you. Also to Kathy Kubiki for her catalogue essay. We wish to thank all those who contributed work towards our auction for their great generosity. Finally we would also like to thank our sponsors for their support. MAPS STUDENTS 2014
WITH THANKS TO OUR SPONSORS
CONTACT DETAILS Meg Beaumont E:megrbeaumont@gmail.com W: cargocollective.com/ megbeaumont
Xiaobo Fu E: snkprotoss@foxmail.com W: xiaobofu.com
Mariah Skellorn T: +44 (0)7709 485 979 E: mariahskellorn@hotmail.com W: mariahskellorn.co.uk
Maria Tzili E: tzili.maria@gmail.com W: mariatzili.gr
Max Bwire E: brexma@yahoo.co.uk
Davy Jones T: +44 (0) 7973 661810 E: info@davyjones-photography.co.uk W: davyjones-photography.co.uk
Wilf Speller E: wilfspeller@me.com W: wilfspeller.co.uk cargocollective.com/wilfspeller
Louise Wiklund E: lou.wiklund@gmail.com W: louisewiklund.com
Adam W. Byra T (PL): +48 694 609 601, T (UK): +44 770 70 57 999 E: contact@adambyra.com W: adambyra.com
Inès Lion T: +44(0)07799508285 E: ines.lion@hotmail.fr W: ineslion.com
SunSun Liu 劉桑 T: +44 (0)7507 315 346 E: info@sunsunliu.com W: sunsunliu.com
Alia Zapparova E: alia@aliazapparova.com W: aliazapparova.com
Maria Falconer E: maria@mariafalconer.co.uk W: mariafalconer.co.uk
Tom Marsh E: info@tom-marsh.co.uk W: tom-marsh.co.uk yorkshirephotowalks.com
Sarah Tehan T: +44 (0)7775 902 355 E: sarahtehan@hotmail.com W: sarahtehan.co.uk
Umit Zeytincioglu T: +44 (0)74023 73660 E: Zeytincioglu.umit@gmail.com W: umitzeytincioglu.com
COURSE ENQUIRIES T: +44 (0)20 7915 5511 E: course-enquiries@westminster.ac.uk University of Westminster 101 New Cavendish Street London W1W 6XH
westminster.ac.uk/mad ontransience.com info@ontransience.com
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