Edition #008 by Edition Magazine

EDITION FINE ART PHOTOGRAPHY ISSUE#008

Editorial team Hannah Booth Iam Burn Rebekah Kitchell Kathryn Miller Technical team Michael Daglish Special thanks to University of Sunderland, Photography, Video and Digitial Imaging Students for their submissions.

EDITION Edition is a fine art photography magazine from students at Northern Centre of Photography, University of Sunderland, Photography, Video and Digital Imaging BA (Hons). This magazine acts as a platform for our students to get their work out to a wider audience. In this issue we showcase a range of studentsâ&#x20AC;&#x2122; work across all three years working in a variety of different mediums; ranging from traditional chemical and digital through to alternative processes. We would like to thank everyone for the continued success of Edition. We also want to wish all the students good luck within the semester ahead. More work can be found over on the Edition website here. Edition editorial team

Go Back to London You Muppet Besides the infamous stories and shabby exterior, Seaton Carew is embedded with history and a population that has fallen in love with its peculiar character. From John Darwin to the tenth oldest golf club in the country, there is a part of it that everyone seems to be proud of. The faded signs and old arcade machines create a sense of a place which is living in an era past but yet still manages to create the warm sense of nostalgia from holidays gone by. It is a place that people are glad to call their own. This body of work is a direct response to an online article which created a scandal within Seaton Carew. Describing it as a ‘ghost town’ and where ‘fun fairs come to die’, the people of the town took to social media to express their views on how ill-informed it was and the lack of research the writer has done. From being a frequent visitor to the place myself, I wanted to express my own view and also the views of the people who live there. By creating a juxtaposition between the comments left on the article and the banal images, it gives a sense of what the place is like. On the outside a little neglected but once you become a part of it you see all of what it has to give.

HANNAH BOOTH GO BACK TO LONDON YOU MUPPET

ERDVILE GIRININKAITE GAME OF SLEEPLESS MINDS

Game of Sleepless Minds These images were used in a photo book called “game of sleepless minds”. This piece of work reveals many difficulties people have to deal with whilst suffering from insomnia. The story covers both night time and the daytime; how people manage to find things to do when everyone is sleeping and what comes after, the consequences they have to meet because of lack of sleep. The world can appear blurry, even frightening to insomniacs due to many sleepless nights, which is why colours in some of the pictures might seem distorted, as it would be seen from insomniac’s eyes. All pictures shot on 35mm Agfa colour film.

ERDVILE GIRININKAITE GAME OF SLEEPLESS MINDS

KATHRYN MILLER CASE STUDY A1124NE

Case Study: A1124NE This project is comprised of prints and a video piece which explore the possibilities of the objects, initiating dialogue on their possibilities. It can offer potential, reality or fantasy. In presenting this work the viewer is exposed to a collection of forensic evidence gathered by a government agency, the Unidentified Objects Government Research Agency. (U.O.G.R.A) The prints carry the coordinates information, hinting that there is an investigative manner to the work. The prints are presented black and white and square format, evocative of the 1960’s when UFO’s were a popular phenomenon for photographs, news and media. The video is recorded with a level of instability to exaggerate the sense of an amateur documentation whilst witnessing a forensic investigation in various locations. The work’s philosophy experiments with putting a narrative of possibilities to everyday scenes and objects, manipulating images reminiscent of previous decades where technology and science were the answer to everything. Both technology and science have evolved making advances, offering solutions to problems but still there are unanswered questions, inexplicable findings throughout the world. Could there be more than meets the eye with these images?

KATHRYN MILLER CASE STUDY A1124NE

Meg In Sunderland Little Meg fell down the hole Bumped her head and Bruised her soul. Many many moons ago She reached the inevitable plateau. Brazen but broken Burdened and beaten. She hit the wall It made her crawl Sleeping until nightfall. She arrived in Sunderland The Wonderland Not knowing a soul Leaving everyone behind to enrol. Cruel mental health and Her heart on the shelf Keeping herself To herself. There are good days and bad days as well as in between days They said it was a phase As her mind decays An endless parade of cabarets. Drowning in a flood of her tears Like Alice did, she perseveres The hope of happiness disappears But always keeps itself near. She may give you a scare But do not despair She wouldn’t dream of being elsewhere. It will all end well She’ll come out of her shell She’s no longer under the spell To Meg’s demons, Farewell.

MEG MORRIS MEG IN SUNDERLAND

Technology In this piece of work I wanted to show how technology is slowly taking over everyday activites and how we would rather be looking down at our phone, catching up on social media, then looking around us and taking the time to notice what is going on. I intentionally chose places that are of interest, such as the bridge and durham castle, to show that even in historical places with iconic buildings and structures, that people would rather look down on their phones.

JESSICA PENALUNA TECHNOLOGY

CHRIS SYKES THE RESIDUE OF THE CAVE

The Residue of the Cave This body of work looks closely at artefacts that have been used for thousands of years, for jewellery, art and religion. The residue of the cave attempts to look for the essence of a thing by looking closely at the artefacts to see if we can find residue or traces of humanity within these objects.

CHRIS SYKES THE RESIDUE OF THE CAVE

CHELSEY PEART WE’RE STILL HERE

We’re Still Here Due to the rise of online shopping and the changes in regime going into place throughout every Morrisons’ supermarket up and down the country, many employees are moving onto different jobs and those on the shop floor are being rerouted to other departments. This then leaves the remaining few to struggle through the day shifts taking care of the deliveries, store upkeep and questioning customers. When I began working in the store each aisle was occupied by at least one member of staff consistently throughout the day and around 15 people in each ship floor department, whereas now there are 1-4 people employed per each of these departments, stretched between the 25 aisles and surrounding areas.

CHELSEY PEART WEâ&#x20AC;&#x2122;RE STILL HERE

Sentimental Hoarding I created this project to reflect on myself and to document my Grandmother, my Father and their hoarding. It was difficult at times because they both donâ&#x20AC;&#x2122;t really understand that they are hoarding so it was an emotional experience for myself looking into what will be my future.

ELEANOR STRAKER SENTIMENTAL HOARDING

ELEANOR STAKER SENTIMENTAL HOARDING

ELEANOR STRAKER SENTIMENTAL HOARDING

MOLLY ALLAN CENSORED

Censored This piece of work is in response to the Free the Nipple movement. The movement is fighting the censorship laws on social media which allow male nipples to be shown but not female. The work shows male nipples that are super imposed onto female breasts to show what Instagram regulations say is correct and deemed appropriate. The images look odd and slightly grotesque with the male nipples not quite sitting right on the breasts.

MOLLY ALLAN CENSORED

Places of Discomfort According to the British Crime Survey (2001) there are an estimated 47,000 rapes every year, around 40,000 attempted rapes and over 300,000 sexual assaults. Places of Discomfort explores various locations where one may feel anxious and uncomfortable. The images visually capture places of the everyday, at night while focusing on the element of light as a point of safety as well as space. The body of work picks out prominent objects within each location where one may feel discomfort from the uncertainty of each scene. The inspiration for this project originates from an experience where I was followed home after work. My senses were heightened, time felt like it had froze, and I felt myself feeling more and more anxious. Light is a predominant element within all of the images in the series, as it poses as a point of safety, but is anyone really safe anywhere?

ELLY PECKITT PLACES OF DISCOMFORT

REBEKAH KITCHELL LIKE OUR MOTHERS

Like Our Mothers Like our mothers explores the physical likeness and similarities between mothers and their daughters.

REBEKAH KITCHELL LIKE OUR MOTHERS

Second After Epiphany The New Year was still in its infancy. The town had just witnessed another busy â&#x20AC;&#x2DC;fun-filledâ&#x20AC;&#x2122; Saturday night in its pubs and clubs. However, for one person the night would take a fatal turn. A popular young woman from the town had seemingly disappeared off the radar. She had left her favourite nightclub in the early hours and headed off alone through the rain soaked streets. A few days passed with no contact. Her family reported her missing to the police but the trail quickly ran cold. Ten years passed before she was ever seen again. Her body reappeared in the town from which she had long since vanished. She had never really left.... Second After Epiphany

IAM BURN SECOND AFTER EPIPHANY

Untitled For me this is the human pain. The fact that we are no one around most of the people. They donâ&#x20AC;&#x2122;t care about us, we hide our pain deep inside, hoping for someone to notice. We are desperate because we put our lives in frames. This is who we are, this is our painful reality.

PLAMENA GANEVA UNTITLED

CASSANDRA HARVEY UNTITLED

Untitled Within the last century women all over Britain fought for equal pay in the work place. As inflation occurred and the need to earn became more important there was a taboo job opportunity for women anywhere. Sex Workers within the UK are kept well under the radar unless they are being slandered in the media. Working in the sex industry should be recognised as a normal job, just like you would an office job, and celebrated for what they do, as well as what they give up, for the sake of having a healthy bank account. Women featured in this project are working from their own home with the aid of their computer and an online representative company, which charges each viewer for time spent watching their live videos and pays the women a respectful amount for their services. This work provides an opportunity to investigate this industry and to realise these people are human beings providing a service. They are just like you and I and should not be slandered for the job they do. They are not super models; they are normal women working to provide a required service and earn income to pay their way through life. These could be your neighbour, your friend or anyone walking past you in the street. Why should we be the ones to judge?

CASSANDRA HARVEY UNTITLED

Everything is Emblematic The Troubles of Northern Ireland within modern history have raised issues of region, religion and politics and the significance of this cannot be underestimated. It is nearly twenty years since the peace process began in Northern Ireland, yet there is still an air of animosity that hangs over the area. For many, these troubles have been a long and traumatic lived experience. However, it is important that we retain an understanding of this history. Belfast’s black cab tours have become the way for those who don’t know the area and the issues to discover the history of this conflict through personal experiences. There are two sides to every story, especially with this situation. “Protestants won’t accept anything less than being part of Britain, Catholics won’t accept anything less than a united Ireland.” - Danny O’Sullivan With the tours becoming a money making industry, problems arise with this example of ‘conflict tourism’. Different drivers provide a different perspective and approach to, not only their dialogue, but also their perceived notion of events. Everything is Emblematic is an exploration into the impact of the troubles in Northern Ireland on the people and the landscape. Tourists experience a ‘drive through history’ allowing for travel along peace lines, memorial gardens and into both Catholic and Protestant areas patrolled by paramilitary groups to this day. “In 1998, when the peace agreement was signed, we had 32 walls. Now we have peace, there’s 47.” - Keiran Delaney

BRYCE MARSHALL EVERYTHING IS EMBLEMATIC

LOIS WALKER THE UNWANTED PIRATE CREW

The Unwanted Pirate Crew The Unwanted Pirate Crew is on face value a fairytale story. It follows the story of two children who are being harassed by a monster in their home and their final escape from the situation. We find ourselves trapped in an unfamiliar house. The floorboards, the windows repeating themselves again and again. The darkness intrudes on the natural light. There are hints of characters that never truly come to life. Beneath the surface of these images, there is a story of two children trapped in a situation of abuse. This is their world as they see it; colourless and twisted. They are stuck between a frightening reality and their self-created fantasy world of escape. They are The Unwanted Pirate Crew.

LOIS WALKER THE UNWANTED PIRATE CREW

MICHAEL DAGLISH SEEN/UNSEEN

Seen/Unseen The modern world offeres constant connection . This offering itself simutaneously acts as a gift and a curse. At one point our problems could be left at the place and space in which the manifested themselves to. Now however we carry them round with us. They exist as small boxes of anxiety held in a pocket; glass, silicon, copper and gold are their digital oppression, we are still visually bombarded by the digitial noise of our cities, workplaces and homes. A rising interest in eastern culture, meditative and yogic practices across the western world have come from a want to separate from these everpresent digital tiles of our modern lives. Yet without years of training how can our modern fast paced, ever attention-seeking minds truly become clear. One-hour sessions at a local gym or village hall will not do this. Nor will the weekend retreat, no matter how much belief is put in to it. A thousand years of deep and mindful practise cannot be learnt in a weekend. Seen/Unseen looks at the places and spaces people visit as their own form of meditation, a way of disconnecting from the world. I aim to question whether it is truly possible to completely disconnect from the mindful problems carried with us or are we now living in a state of constant distorted distraction.

MICHAEL DAGLISH SEEN/UNSEEN

The Dimensions Of A Criminal In the 1900’s a scientific study raised a fact that criminals were supposedly born with specific features that, therefore defined them as a ‘criminal’. Francis Galton in the early 19th century considered how measurements could be used for identification of individuals. Galton took this approach in relation to ‘policing and detection’ of a criminal. These biological traits were seen as features that only a criminal would possess, for example unusual eyes, wrinkled skin, facial asymmetry etc. These physical traits have been deemed incorrect as how can a human be defined by their physical appearance? This base of work explores the features that may have been seen as ‘Criminal like’ but in fact are far from that description. Initially raising the issue of how an individual can be labelled as something from their physical exterior. Taking inspiration from 1900’s photographs of criminals, these images address a more modern take on the average portrait, revealing the prominent features of each individuals face. Each image represents a cabinet card, a card commonly used in the Victorian era for a form portraiture. Cabinet cards were a later creation, taken from a Carte de Visite, (a small photograph). By the early 1870s, “cabinet cards “were introduced, these were usually albumen prints, but larger than a Carte de Visite, mounted on cardboard backs. Every photograph contains a word below; each word relating back to the Victorian slang used for different types of criminals within this time period.

KATIE GORDON-RUSSELL THE DIMENSIONS OF A CRIMINAL

Victorian Slang words commonly used for criminals within that time period: Palmer: was a term used a Victorian shoplifter. Bludger: The most vicious of criminals were labelled Bludgers, this term is taken from their use of bludgeons in their bloody work. Skinner: was a woman who made their living by luring innocent children into alleyways, stripping them, and selling their clothing, leaving their frightened young victims naked in the street. Rampsman: was known as a ‘mugger’ who mugged people. Dipper: a common criminal type in London who were the known as the ubiquitous pickpockets. Snoozer: were criminals who particularly specialized in stealing people’s luggage and belongings from hotels guests while they slept. Outside Caliper: were used to measure the external size of a subject or object, for example size of the head. Divider Caliper: dividers were also used in the medical profession, measuring one point of a body part to the other. Vernier Caliper: gave a direct reading of the distance measured within body parts, giving high accuracy and precision. Scientific Measuring Ruler: used to measure height and specific features of the face and body.

The Family Curse “Forty-five is the cursed age, forty-five is as long as us lot live for” No bond is quite like a mother and daughter relationship, a mother brings her into this world and she goes on to create another generation. A mother’s role is to pass on their wisdom, nurture and be a backbone to a family. However, what if they also pass on an illness? Deep Vein Thrombosis is a blood clot that develops within the body, usually within the larger vein of the leg. The blood clot can break off into the bloodstream and blocks a blood vessel in the lungs, which can lead to sudden collapse. The body of work is a personal reflection from the artist exploring daughters losing their mothers to Deep Vein Thrombosis, an inherited illness. Each woman on the mother’s bloodline has passed away suddenly at the consistent age of forty-five. The artist’s blood holds the link to Deep Vein Thrombosis which appears within the series on old found family polaroids.

NATALIE LAYDON THE FAMILY CURSE

Hannah Booth Go Back to London You Muppet hannah.booth95@live.co.uk www.hannah-booth.co.uk www.facebook.com/hannahboothphotography Erdvilė Girininkaitė’ Game of Sleepless Minds erdvgir@gmail.com www.facebook.com/g.ilephoto

Kathryn Miller Case Study A1124NE kathni123@live.com www.kathrynlmiller.wordpress.com

Meg Morris Meg in Sunderland blondebalancephoto@gmail.com www.facebook.com/megmorrisphotography/

Jessica Penaluna Technology jessicapenaluna@hotmail.co.uk www.facebook.com/nalunaphotography/

CONTRIBUTORS Chris Sykes The Residue of the Cave

#008

chrsyk@hotmail.com www.chrissykesphotography.co.uk

Chelsey Peart Weâ&#x20AC;&#x2122;re Still Here bg50lx@student.sunderland.ac.uk

Eleanor Straker Sentimental Hoarding bg89dm@student.sunderland.ac.uk

Molly Allan Censored molly.allan@hotmail.co.uk

Elly Peckitt Places of Discomfort bg70va@student.sunderland.ac.uk www.facebook.com/ebethrphotography

Rebekah Kitchell Like Our Mothers rebekahannekitchell@hotmail.com www.rebekahkitchell.com

Iam Burn Second After Epiphany iamburn@btinternet.com

Plamena Ganeva Untitled bh02rv@student.sunderland.ac.uk

Cassandra Harvey Untitled cassandra.paige.harvey@outlook.com

Bryce Marshall Everything is Emblematic bryce.marshall95@googlemail.com www.castleproductions.co.uk

CONTRIBUTORS Lois Walker The Unwanted Pirate Crew

#008

bg87ey@student.sunderland.ac.uk

Michael Daglish Seen/Unseen mdaglish85@yahoo.co.uk www.michaeldaglish.co.uk

Katie Gordon-Russell The Dimensions of a Criminal bg70jd@student.sunderland.ac.uk www.facebook.com/katie.gordonrussell

Natalie Laydon The Family Curse natalie.laydon@hotmail.com

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