BhaskarSitholey
CareforVanishingBeauty
Iinviteyoutoenteraworldwherecelestialwondersandearthlycreaturesconverge,adelicatedanceoflightandlife.Thesetwoimages,capturedinLadakh’srugged embrace,whisperurgenttruths.Theyarenotmerepixelsonascreenorinkdropsonpaperbutechoesofoursharedresponsibility,aresponsibilitythatcannotwait.
Ladakh’sCelestialDance
Ladakh’snightskyisacanvasonwhichstarswritetheirsecrets.TheMilkyWayunfurlslikeacosmicribbon,stitchingtogetherpastandpresent.Itsluminescencedefies borders,remindingusthatweareallmadeofstardust.TheMilkyWay’sbrilliancethrivesindarkness.Yet,ourcitiesandruralestablishmentsspillartificiallight,erasing constellations.Wemustcareforthesenocturnalrealms,fortheirabsencedimsoursouls.
Asartists,wewieldthebrushesofawarenessandtheresponsibilitytopaintwithreverence,urgingalltoshieldthenightfromintrusionsofelectronicillumination.Ifwedo nottakeupthismantleofcelestialguardianship,imagineaworldwheretheMilkyWayisnolongervisible,thecelestialsymphonysilencedbyartificiallight.
Theworld’secologicalbalancewillbecompletelythrownoff.Nocturnalcreatures,fromfirefliestoowls,allrelyonnaturaldarkness.Disruptingtheirhabitatsaffectsentire ecosystems.Excessiveartificiallightalsoaffectshumanhealth,disruptingourcircadianrhythmsandimpactingsleepqualityandoverallwell-being.
Darkskiesconnectustothecosmos.Theyhaveinspiredwonder,curiosity,andscientificdiscoveryforthousandsofyears.Wemustprotectthem.
TheProudUrial
BeholdtheUrial—awildsheep,asurvivorofevolution,untilnow.
Shestandsattheedgeofamountainroadagainstthesun,herhoovesetchingstoriesintoancientsoil.Hergaze piercestime,questioningourchoices.Herexistencehangsbyathread,athreadwehavefrayed.Infrastructureandroadscarvethroughherhome,disruptinggrazing grounds.Shebattlesforsurvivalamidsthumanencroachment,representedasalineitemintheIUCN’sRedlist.
Wearearchitectsofbothwonderanddestruction.Wemustalsobestewards,forourchoiceswillshapeherdestiny.Caringisanartform.Inthisgalleryofexistence,wehold brushesofresponsibility.TheseimagesofLadakh’sNightSkyandtheUrialsymbolisefragilityandresilience.Brushstrokesofempathycanmendwhat’sfrayed.As environmentalenthusiasts,conservationists,andindividualsinterestedinwildlifeandnaturespreservation,eachofuscanmakeadifference.Letusprotect ourconstellationsandthewild,forwearecustodiansoftheirvanishingbeauty.
bhaskar@explorelight.art
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CatherineHawthorn
InSight,OutofMind
Engagingwiththehomelesscommunitythroughayear-longcollaborativeprojecthas profoundlyshapedmyartisticjourney.Myworktranscendsmeredocumentation;it delvesintothehumanexperience,offeringanarrativethatchallengesstereotypesand embracesempathy.
Throughintimateinteractionsandsharedmoments,Icapturedraw,unfiltered emotionsandstories.Theseencountersinspiredaseriesofphotographiccollagesthat blendrealitywithatouchofsurrealism.Eachcollageismeticulouslycrafted, juxtaposingfragmentsofliveslivedonthemarginswithelementsofhopeand resilience.
Thecreativeprocessitselfwasadialogue—anexchangeoftrustandvulnerability. Together,weexploredthemesofidentity,belonging,andsocietalexclusion.Their narratives,etchedontofilm,emergedaspowerfultestamentstothecomplexityof humanexistence.
Theresultingartworksarenotjustvisualcompositions;theyaremirrorsreflectingour sharedhumanity.ByshowcasingthesecollagesIaimtoprovokeintrospectionand fosterunderstanding.Iseektoamplifythevoicesofthoseoftenunheard,challenging viewerstoconfronttheirbiasesandreconsiderpreconceptionsabouthomelessness.
Ultimately, this project is a testament to the transformative power of art. It serves as a bridge between worlds, inviting viewers to connect on a deeper level and to recognize thebeautyandresiliencethatexistineveryhumanbeing,regardlessofcircumstance.
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DavidRosen
Photographyhasentrancedmesincetheageof13,whenIwasgivenmyfirstfilmcamera.Sincethat moment,ithasbeenalifelongpassion,hobbyandnowcareer.Initially,Ifocussedalmostexclusively onmonochromefineartlandscapes,architectureandcityscapes However,thisfocushasgrownover theyears,andIhavefoundmyselfbeingdrawntocolour,aswellasworkingacrossnewgenres, includingstreetphotography,streetportraitureandmorerecently,long-formdocumentaryphotojournalism
Mycreativeoutputhasbeenstronglyinfluencedbybothmyworkwithinthedesignandadvertising industryaswellasmyacademicbackgroundinmedicalandsocialpsychology.Whenworkingwithina highlycompetitivecreativeindustry,Iquicklylearnedtorecognisetheimportanceofsimplicitywhen lookingtocreatedramaandelicitpowerfulemotionalresponses Mylandscapework,after numeroustripstoIceland,waswellreceived,withanumberofawardsovertheyears.
FollowingonfrommyIcelandexperiences,IformedarelationshipwiththeRoyalPhotographic Societyandhavedeliveredarangeofonlinelecturesandworkshops
Inordertobroadenmydocumentaryphotographicpractice,Iamcurrentlyundertakinga PhotographyMastersDegreeatFalmouthUniversitywithafocusondocumentaryphotography.To date,IhavecompletedprojectsonHomelessnessinLondon,ParentalPsychosisandmostrecently ThePost-BrexitLandscapeinCanveyIslandastaunchleaveconstituencyattheeasternedgeof Essex.
Outsideofphotography,Ihaveabackgroundinhealthpsychology,designandmarketingwhilst beingastrongadvocateforstorytellinginphotography.Althoughthereisabeliefthattheimage itselfshouldbeabletocommunicatethewholestory,Ibelievethatmoreoften,anunderstandingof thecontextofthephotographandthereasonsbehinditscapturethroughtextualsupportprovidesa richerexperiencefortheviewer.
ProjectOverview
ThisdocumentaryphotographicresearchprojectwillexplorehowresidentsfeelaboutlifeonCanveyIsland,theircommunitytheirsenseofIdentityandhow Brexithasinfluencedtheirperceivedfinancialandsocialwellbeing.
Theresearchwascarriedoutjustbeforethegeneralelectionof2024.ItwillaskhowresidentsfeelabouttheincumbentConservativegovernment’shandlingof leavingtheEUandwhattheycouldhavedonedifferentlytomaximisethepromisedbenefitsofBrexit.
Environmentalmediumformatfilmportraitswillbetakenofrepresentativeresidentsmetontheislandduringtheprojectacrosstheageandgenderspectrum. Eachsubjectwillbeinterviewedforaround15minuteswithrepresentativequotesdrawnfromthematicanalysisofthequalitativeinterviews.
www.davidrosenphotography.com
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GeorgeBull
Iwanttorejectthemachine. ItissomethingIneedandfromwhichIwillneverescape.
AgainsttheMachineisanongoingbodyofworkexploringthedisruptionofthe photographicprocessandimage.Iaimtousethisdisruptiontodrawattentionto theconflictedfrustrationofbeingconstantlyconnectedtomedicaldevices.Whilst theysustainlife,theyholdanoverbearingweightandserveasaconstantreminder thatcomplicationsanddeathcanonlybeavoidedforsolong.
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GeorgiadelaBertauche-Bull
AsaphotographerbasedinNorthampton,myworkisdedicatedtosheddinglightontheoftenoverlookedissueofphysicalaccessibilityforpeoplewithdisabilitiesinmylocalarea.
Throughmylens,Icapturethebarriersandchallengespresentinoururbanlandscapes.Each photographisatestamenttothespacesthatexclude,butmyartgoesbeyondmere documentation.
BycreatingriftsintheseprintsandsewingthemwithfabricinthetraditionalJapanesestyleof borosashiko,Isymbolisethepotentialforrepairandimprovement.Thistechniquenotonly highlightstheflawsbutalsooffersavisionofhopeandchange,emphasisingthattheseissuescan andshouldbeaddressed.
Mygoalistoinspiredialogueandactiontowardsamoreinclusiveandaccessibleworldfor everyone.
Thisuniqueapproachhasbeeninspiredbymypersonalexperiencesasapersonwhodealswith reducedmobilityonadailybasis.Iwantedtoutiliseatechniquethatoffersatangible representationofisolationandoptimism,allowingmetoharnesssustainablepracticesoffabric offcuts,discardedembroiderythread,andonlytravellingusingmyelectricmobilityscooter.Iam toweaveapowerfulvisualnarrativethatencouragesviewerstoseethepotentialformending thesesystemicshortcomings,transformawarenessintoaction,andprovethatsolutionsare withinourreach
GeorgiadelaBertauche-Bull
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HomeroAziz
TheLongWait
Mycurrentproject“TheLongWait”isthestoryofNinaAlBirwari,anIraqiasylum seekerartistcurrentlylivinginJordanandwaitingforalmostsixyearsan immigrationopportunity.Ninarepresentscountlessofothersgoingthroughvery similarandhardcircumstanceswithoutanyexpectationsofwhentheirplansof leavingtheMiddleEastcouldsucceed.
AccordingtoUNHCR,Jordanhosts61thousandIraqiasylumseekerswaitingto resettletocountrieslikeAustralia,Canada,USA,Germanyandothers.Sadly,more than70%ofthemarrivedbefore2015andonly1%areapprovedeveryyear, therefore,theirconditionisofalongwaitthatbringsallsortofchallengesand struggles.Afterwaitingforyears,theseasylumseekersreachedabreakingpointand exhaustedtheirfinancialresourcesandimmigrationattempts.Eventhough,they continuetofaceconstrainedaccesstobasicservicesandconstantlyliveunder pressure.ThroughNina’sperspectiveandmemories,mypicturesdisplaythefeelings shehadwhilefleeingfromherowncountry,theemotionsoflivingonanother’sland andthehopesofabetterfuture.
NinaispartofoneoftheminorityIraqigroupscalledAssyrians.Theyareamongthe mostaffectedbythewaragainstISIS,whichoccupiedtheirterritoriesfora considerabletimeinthenorthernpartofthecountry.Thosethatfled,likeNinaand herfamily,theyhavenoprospectofcomingbacktotheirhomeland,whichisstill beingrebuildandfullofrisksandthreatsforminoritygroupsanddonotknowwhen theywillbeabletoimmigrate.
“TheLongWait”aimstodisplayNina’schallengesasshewaitsinJordan hustlingtosupportherselfandherfamily.Asanartist,Ninaworkswith poetryandArabiccalligraphy.Throughcollaborationandcritical construction,wehopethesepicturescansparkdiscussionsaboutthe realityoftheseIraqirefugeeswaitingforsuchlongperiodsoftime,asthere aresomanyindividualsfacingsimilarstrugglesandchallengestoNina.
“Whenartistsworkcollaborativelytheiridentitycanbecomedissolvedinto theartistscollectiveandauthorshipisdefinedasmultipleanddiffuse”, AnthonyLuvera.
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E-mail:homeroaziz@gmail.com
JayneRussell
TimeFalters
ThisprojectlooksatCross-culturalIntergenerationalMemorytohighlight commonalitiesanddiversityinthesharedhumanexperienceofgriefandhow wememorialize.
Iconsider‘Western’photography’simportancetomemoryalongside alternativeritualsofremembranceandthedesynchronizationoftime universallyexperiencedduringtheprocessofgrieving.
Deathisoneofthefewthingsthatweashumansareguaranteedinlife,and thisisarealitythatunitesusall-however,thewayoneacknowledgesthisfact isuniquetotheindividual.Itisadoubleloss;thelossofthepersonandof yourselfasdefinedbythatrelationship.
Whatholdsthemoreintensememories?Thephotoortheobject? Yet,onceseparatedfromthereferentbothobjectandphotobecomevalueless.
www.jaynerussellphotography.com @jaynerussell
NaomiHuq
TalesinSixYards
Creatingimagesformeisawayofre-castingthecurious,unsettlingmysterious elementsoftheworldanditsdesign.Thisongoingproject,TalesinSixYards, exploreshowweconstructoursenseofidentityandbelongingtoaplace.Itis centredaroundtheachinglossofamotherfigure,illustratedbysomeofthe garmentssheleftbehind.Mymother-in-lawdiedsuddenly,shortlyaftershe’d travelledtotheScottishHighlandsfromherhomeinBangladesh.
Thiscollectionofhersareesrepresentherburningabsence,aswellashercontinued guardianshiphereinthespacesImostfrequent.Theyalsomakeaproudstatement ofcontrastsandperhapsmoreuncomfortably,ofothernessinthesurrounding landscape.Thejuxtapositionraisesquestionsaboutoursenseofbelongingtoand ownershipofaplace.Infact,thelandwheresheisburiedhasmanymore connectionswithhercountryoforiginthanIhadrealised.
IcontemplatedherlifejourneyfromherbirthplaceinBritish-ruledBengal,backand forthtoEnglandandeventuallylaidtoresthereinScotland.Hersisawellbeaten pathoftradeandmigration,rootedinthenetworksandsystemsofEmpire,where culturalandsocialhistoriesmergeandcollide.Ourcontemporarysocialmake-upis testamenttohowacolonialpasthasleftitsimprint-blendedidentities,fragmented notionsofbelongingandculturalallegiance.
Hersareesareusedhereasabackdroptoprojectedimagesof cloudstakenonflightstoandfromDhaka,andanimagetaken aroundthenaturalenvironmentwhereshedied.Thefabrics representherherlifejourneyfromherbirthplaceinBritish-ruled Bengal,backandforthtoEngland,eventuallybeinglaidtoresthere inScotland.
TheseclothsalsorepresentherburningabsenceinthespacesImost frequent.Theymakeaproudstatementofcontrastsandperhaps moreuncomfortably,ofothernessinthesurroundinglandscape.The juxtapositionraisesquestionsaboutoursenseofbelongingtoand ownershipofaplace.Infact,thelandwheresheisburiedhasmany moreconnectionswithhercountryoforiginthanIhadrealised.
Hersisawellbeatenpathoftradeandmigration,rootedinthe networksandsystemsofEmpire,whereculturalandsocialhistories mergeandcollide.Ourcontemporarysocialmake-upistestamentto howacolonialpasthasleftitsimprint-blendedidentities, fragmentednotionsofbelongingandculturalallegiance.
Thesesareesserveasametaphorforourconnectedstories,fromthe processesoftheirmaking,theirstitchesanddesigns,tothenatureof theiruses.Theyhavebeenpassedlovinglyfromonefemalefamily membertoanotherandhaveintimatelywrappedthebodyofeach oneonoccasionsofcelebrationandjoy.Theyrepresentfamily sisterhoodandsolidarity,stillbearingthemarksofcookingspicesand safety-pinsandofthemanysharedhumanexperiencesthatbindus all.
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StevenStocking
ShatteredInnocence
Myproject,ShatteredInnocenceaimstohighlightthetrauma,fearandanxieties, ChildSexualAbusehauntsadultswiththroughouttheirlives.Throughconstructing miniaturescenes,Iaimtoencapsulatetheenduringemotionalandpsychological scarsleftbysuchtrauma,usingvisualmetaphorstoconveythecomplexitiesofthe survivor'sinnerworld.
TheuseofLEDlightingiscentraltomywork,servingnotjustasilluminationbutasa symbolicdevice.Thelightscreatestarkcontrastsanddeepshadows,highlightingthe dualityoflightanddarknessthatsurvivorsnavigatedaily.Thevibrant,almostsurreal coolcolourswithdim,hauntingshadowsrepresentsthefragmentedpsycheofthose whoenduretheaftermathofabuse.Itisthroughthisinterplayoflightandshadow thatIseektoillustratethepervasivesenseofentrapmentandtherelentlesssearch forhealingandwholeness.
Byminiaturisingthesescenes,Iaimtocreateasenseofintimacyandvulnerability, drawingviewersintothesmall,intricateworldsthatmirrorthevastemotional landscapesofsurvivors.
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SteveWallington
ThinkingofHome
ThisprojectisanintimateportraitoftwoyoungUkrainiansdisplaced bythewarinUkraine.ThesetwovisualstoriesintroduceustoVictoria andVitalli'spersonallivesaftertheyarrivedinLondontwoyearsago.I wanttoshowtheirincrediblehardworkanddevotiontocreatinga betterlifeforthemselvesafterallthishardship.
MycreativeprocessisbasedonthetrustIhavebuiltthroughmy interestintheiremotionalexperiences.Icollaboratewiththemto developempoweredformsofself-narrative.
Theyaretellingtheirstories,strengtheningtheirsenseofindividual poweratthiscriticaltimeintheirlivesandgivingyoungpeopleavoice forUkraine’splightandit’sultimatefreedom.
www.sfwallington.me/photography-film @sfwallington
Iwasinfluencedbyphotographyatanearlyage.MyFather,anavidphotographer, workedforatypesettingcompanyinLondonduringthe1970s,whichhadadarkroom wheremyDadprocessedhisfilm.Ifellinlovewiththedark,light,smellsofchemicals andthatredglow.Sobeganmylifelongloveofphotography.
Ibeganmycareerinadvertising,becomingacreativedirectorandestablishingthree independentcreativebusinesses.Inthesebusinesses,Icollaboratedwithadiverse rangeofcreativesandphotographers.Art-directingcampaignsforvariousglobal brandsenhancedmylearninginphotography.
Mypassionfordesignandphotographyculminatedintwoself-publishedbooks:Point >Point,aphotojournalofaroadtripthroughAustraliawithmySister,andaJourney totheSummitofMt.KilimanjaroinAfricawithfriends.
IhavehadtwoLondonexhibitions,includingaprojectontherespectedDaleBoxing ClubinWestLondon.Ifoundtheoldclubabandonedandphotographedthespace beforeitwasdemolished.Ithentrackeddowntheexistingclubthathadtrained world-classboxinglegendsGeorgeGroveandJamesDeGalleandphotographed themoverasix-monthperiod.
In2015,Ilosttwofriendstosuicideandco-foundedThePhotographyMovementwith bestfriendScottShillum,whohadlosthistwinBrother.
Thenot-for-profitMovementusesphotographytopromoteconversationaround mentalhealthandwell-being.Ithasactivatedmanysuccessfulcampaignswithother photographersandcharities,includingCALM,toraisefundsandawarenessfor suicideprevention.Recently,wepartneredwithSuicide&Cotolaunchacampaign, exhibition,andauctiononGoodCompany.
Lastyear,IbegananMAinphotographyatFalmouthUniversitytofurthermypassion andloveofphotography.
Fragility
Anongoingbodyofworkexploringapersonaljourneyofawomaninthe21st centurynavigatingboththefearofprocreationaswellasthepainfulprocessof grievingforfertility.
Thebodyofworkexploresthecomplexrelationshipwomentodayfacewhen consideringtheirfertility,theirquesttonotconceiveandhowtheuseofhormonal contraceptivesishavingalong-termdetrimentaleffectontheirfertilitylaterinlife.
Asalargerbodyofwork,Iexploremyownexperiencewithaftereffectsof hormonalcontraceptives,primarilyfocusingonfearsofinfertilityandthe debilitatingeffectsofanovariancystwhichhastransformedmylifestyle,my mindsetandhowIseemyfuture.
Thephotographswithintheseriesarevisualmetaphorsintheformofadiary recordingthephysicalandmentaleffectsIcontinuetoexperiencethroughoutmy journey.
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WillPenny AsHardasNails
Withthiswork,Iamaimingtoshinealightonthepressuresfeltbymeninthemodern worldtoconformtoastereotypeofwhatamanis,andhowmightone’spsychebeaffected whenthosestereotypesarenot,orcannot,beachieved.Arewetobealwaysstrong, resilient,dependableand“ashardasnails”,orareweabletoslip,tomakeerrors,tocry,to fail,andtofall?
Formanyyears,manymenhavefoundshowingtheirmorevulnerablesideasignof weakness.Thesoundofvoicessaying,“ManUp”,“PickYourselfUp”,“OnlyGirlsCry”and othervulgartermshaveechoedaroundmyriadheads.Thesestereotypes,andotherforces, haveledmetowanttodevelopadeeperunderstandingoftheissuesfacedbymeninour modernworld.
Thetitle“AsHardasNails”cametomeuponmypartnerfindinganailinourhousethat, whilststrangelystillintact,hadallbutrustedthrough Thiswasanailthatwasoncestrong andbrightbuttheworld,time,itslifeandworkhadallbutstrippeditofitsinitialstrength anditisnowinastateof“BarelyHoldingOn”.Thiswasinstantlypoignanttome.This projectformedfromthefindingofthatnailandcontinuestogrow.
Intheimage“TheDamageDone”,myintentistoshowthedamagealifedoes.Fromthe initialimpactthenailhashad,beingforcefullyinsertedintoitsnewposition,tothedamage causedtothenailduringitsbattlewithlifeandtheforcesworkingagainstit.Havingshown theseimagestoasmallgroupofmen,itisapparentthatsomecansympathisewiththenail.
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TheImpressionsweLeave
BarelyHoldingOn NobodyLeftBehind