edition
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PIG HOUSE
PICTURES
PIG HOUSE
PICTURES PHOTOGRAPHS Cover: The Beautiful People by Jason Scott Tilley, Contents: Sahara by TJ Hughes, Colophon: Oil in the Clothes by Elliot Munns Back Cover: Bright Night by James Archibald Thanks to: Alice Maude-Roxby | Falmouth University
FEATURES
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The Beautiful People Jason Scott Tilley
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Biomimetic Futures Andrew Race
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The Found Collection of Ray Ives Oscar Yoosefinejad
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Oil in the Clothes Elliot Munns
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Harmony Close: Between Two Waters & Inherit the Wind
The Structure of the Avian Wing
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Gemma Malenoir
Igor Trepeshchenok & Annemarie Bala
Legacy
Fashion Meets Religion
Patrick Campbell
Nicole Gomes
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Exhibition Review: Cornish Bards
Chefchaouen TJ Hughes
Julia Nottingham
INTERVIEWS
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Doug Allan | Wildlife filmmaker
James Arthur Allen |
Documentary photographer
PIG HOUSE
PICTURES Editorial Editors: Artur Melez Tixiliski artur@pighousepictures.com Tom Pullen tom@pighousepictures.com Art Editor: Joel Hewitt joel@pighousepictures.com
Contributors Doug Allan dougallan.com James Arthur Allen jamesarthurallen.co.uk James Archibald jamesarchibald.com Annemarie Bala chinaclaycountry.tumblr.com Patrick Campbell patrickcampbellphoto.com Nicole Gomes nicolemgomes.com TJ Hughes tjhughesphotographer.com
Gemma Malenoir gemmamalenoir.carbonmade.com Elliot Munns elliotmunnsfp.wordpress.com Julia Nottingham
julianottingham.carbonmade.com Andrew Race andy-race.com Jason Tilley thebeautifulpeopleblog.wordpress.com Igor Trepshchenok trepeshchenok.com Oscar Yoosefinejad oscar-yoosefinejad.com
Contact pighousepictures.com contact@pighousepictures.com submit@pighousepictures.com @pighousepics
PIG HOUSE
PICTURES
PIG HOUSE PICTURES FOREWORD: ALICE MAUDE-ROXBY
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PIG HOUSE
PICTURES contemporary images with purpose
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foreword “it was in fact the ordinary nature of everything preceding the event that prevented me from truly believing it had happened, absorbing it, incorporating it, getting past it. i recognize now that there was nothing unusual in this: confronted with sudden disaster, we all focus on how unremarkable the circumstances were in which the unthinkable occurred, the clear blue sky from which the plane fell, the routine errand that ended on the hard shoulder with the car in flames, the swings where the children were playing as usual when the rattlesnake struck from the ivy.� Joan Didion, The Year of Magical Thinking, 2005, published by Alfred A Knopf, USA
After so much rain this week’s storms and flooding have finally managed to cut us off from the rest of the country. Our main railway service is now severed, the train track literally hanging into the sea along the Dawlish coast. And on top of this, a week of national strikes variously cut things off further. The London tube system came to a standstill and shutters came down in various institutions across the county. Thank goodness for Pighouse Pictures! I am struck by just how far reaching, in geographic, physical and conceptual terms, these assignments, photographs and articles are. Despite everything the contributors have been actively engaged in locations oscillating outwards from Cornwall to Latvia, Turkey to Morocco and India. In parallel others have focused on what is in fact unseen by the naked eye and it is wonderful to see such diversity of approach. In varying combinations these photographs encompass everything from the lyrical, to the scientific, from the documentary to the metaphoric. Thank you to all of the contributors for your tenacity, diversity and steadfastness. And thank you to the editorial team for importantly reaching out beyond the confines of the course disciplines and genres, and actively bringing together the work of students from all corners of the institute of photography at Falmouth University.
alice
maude
-
roxby
|
head
of
photography
falmouth university and author of live art on camera
at
student, haridwar
PIG HOUSE PICTURES THE BEAUTIFUL PEOPLE
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PEOPLE
theBeautiful
words and photographs
jason scott tilley
PIG HOUSE PICTURES THE BEAUTIFUL PEOPLE
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wedding band man, new delhi
varkala station man
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vt station boy
hijra madras
PIG HOUSE PICTURES THE BEAUTIFUL PEOPLE
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the buffalo girl, varanasi
photograph me
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because i came here on my motorbike
dancing man, vt station, bombay
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abdul hannan
Jason Scott Tilley’s street portrait project entitled ‘The Beautiful People’ began as emotional and geographic response to his family’s photographic albums. Tilley is descended from a long line of Anglo-Indians. ‘Anglos’ are the mixed race children of The East India company officials (mainly men) who instead of returning to England after a tour of India decided to stay on making a new life for themselves marrying Indian brides. In November 1999 Tilley accompanied his 85-year-old Grandpa Bert Scott to Bangalore to visit the old family home and then north to Mumbai where his Grandpa had worked as a press photographer. It was during this journey that he began to make his own photographs taking portraits of the people he was meeting each day. This was the first and only trip Tilley’s Grandpa made home in the fifty years since leaving India when in the summer of 1947 with his small family they travelled through the communal violence of partition. Tilley’s Grandmother who was from New Delhi did not join them on that journey deciding to stay in England saying that she did not want her old memories spoiled by all of the changes there must have been.
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This first trip to India with my grandpa had such a profound and moving affect on me I instinctively knew I wanted to explore these feelings more. I really found that I understood India, I really ‘got it’, it was as if all of the stories I had ever been told began to make sense to me. As children we were taught to be proud of our Indian and British ancestry, visually we are quite obviously a mixed race family, I always felt at home in India and that some part of me belonged there. My Grandparents did not travel to the United Kingdom as economic migrants. If things had been different, they would never have left India but my Grandpa felt that soon after partition, Anglo’s were being marginalised and things would become increasingly difficult for them and especially their mixed race children. Though his personal views were always made very clear to me, India should be run by Indians, my grandmother had her own views on this. India is such a wonderfully diverse country where scenes of great beauty or tragedy sit uncomfortably close to one another and it is these challenging contradictions I tried to explore in my portraiture. I lived in India for one year at a time between 1999 and 2009 returning to the UK only for brief periods when
I would find money to return again. It was a fully immersive experience connecting with places I had only previously seen in our family photograph albums and then of course over time I began to make my own journeys and connections with India forming my own highly personal views.
“as children we were taught to be proud of our indian and british ancestry”
Whilst my Grandpa’s work documented the last days of Empire and the years before partition my work explores that decade of great change as India began to compete with other super powers on a bigger world stage. Since I began my journey both of my Grandparents have since passed away, so it makes me a little sad they will never see my exhibition to be launched in partnership with The Library of Birmingham at Herbert Art Galley and museum in September 2014. As part of that exhibition we will also be showing work from The People of India Volumes that are held in Birmingham Library’s photographic archives. These are original albumen prints taken from 8 volumes of books that, when they were made between 1868-75, intended to show the races and tribes of the greater Hindustan. They were made for reasons of Victorian control and dominance as power had recently been taken from The East India Company that began 90 years of British Rule.
the exhibition will feature these three archives. jason scott tilley’s portraits 1999-2009 the people of india volumes 1868-1875 bert scott’s family archive from colonial india 1920’s-1947
The found collection of Ray Ives
PIG HOUSE PICTURES THE FOUND COLLECTION OF RAY IVES
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17 by
Oscar Yoosefinejad
PIG HOUSE PICTURES THE FOUND COLLECTION OF RAY IVES
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previous page left: a disued divers knife previous page right: a spent mortar shell above: an old flair gun taken from the ocean floor. some of the items that ray collects are given to him to put in his museum by other divers middle: an un-fired bullet still in its brass casing right: a broken compass from a ship
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there is something about the tragic look of what lies within the characteristics of a forgotten, lost or unused item that pries at most people’s curiosity. the evident wear and tear helps to clarify that perhaps there was a story to tell, but with no confirmation, it is up to the viewer’s imagination to attempt to fit the puzzle together. in today’s ‘throwaway’ society, it is rare to repair and reuse old or unwanted items. as build quality declines, the next best thing is usually just around the corner. these photographs were taken of lost and forgotten about items, found from wrecks on the ocean floor by plymouth based diver, ray ives. ray has been diving recreationally and commercially for most of his life, involving a whole manner of different jobs, from working on oilrigs to salvaging ships from the depths of the ocean. along the way he’s built up a personal collection of items that he has found on the sea floor, ranging from glass bottles and cutlery, to swords and canon balls - all arranged into his own museum open to the public.
E
WORDS AND PHOTOGRAPHS IGOR TREPESHCHENOK
harmony close: between two waters
WORDS AND PHOTOGRAPHS ANNEMARIE BALA
EWCP inherit the wind WORDS AND PHOTOGRAPHS RORY MATTHEWS
PIG HOUSE PICTURES HARMONY CLOSE: BETWEEN TWO WATERS
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PIG HOUSE PICTURES INHERIT THE WIND
PIG HOUSE PICTURES HARMONY CLOSE: BETWEEN TWO WATERS
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Both Igor Trepeshchenok’s ‘Harmony Close: Between Two Waters’ and Annemarie Bala’s ‘Inherit the Wind’ convey a sense of identity of a place affected by post-industrialization.
Trepeshchenok’s work explores Liepaja, Latvia, where the largest employer was at risk of closing its doors due to the transitional economic crisis. Hundreds of family men and women affected by the company’s closure, including adolescents of the town, were going to face an ever-expanding scenario, where most people would have to find new ways of adapting to such drastic changes. PHP asked Trepeshchenok a bit more about his project.
“the first idea was to create a project about the metallurgical company and its workers. but it didn’t really work out. the whole situation was vague and contradictory. people were afraid of losing their jobs and didn’t want to tell me anything. after a week of unsuccessful attempts to get in touch with the factory workers through local newspapers, political organizations and my new friends, i decided to focus on young people. slow, direct and thoughtful approach reflects my prolonged wanderings around the towns, as well as many silent observations. I was very much inspired by mark power’s “26 different endings” project. my idea was to provide the necessary information of the situation through landscape photography and, use the atmospheric portraits to become appealing to viewers’ emotions, for a better and sympathetic understanding of the story.”
igor trepeshchenok
25 PIG HOUSE PICTURES INHERIT THE WIND
“the images present the inherent connection between the residents and the landscape, and question the impact that the space has had on the individuals, their sense of identity and their consciousness. the story portrays the endeavor of individuals in the development of their communities that are faced with the uncertainties of the post-industrial era, as well as presenting a global dilemma of the human value in the relationship between man and nature. the images were carefully created through encounters and conversations with the people portrayed, who shared their memories and impressions related to the area. this project aims to enable the community to recognise the monumental importance of the landscape today and to recognise the possibilities in development of a new era in light of its decreased industrial activity.”
annemarie bala
‘Inherit the Wind’ is a study of the China Clay area in Cornwall, UK. It depicts scenes of a region that is witnessing the fading power of the extraction industry of British clay. Bala tells PHP what these images mean and how she approached the subject.
PIG HOUSE PICTURES INTERVIEW: DOUG ALLAN
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doug | wildlife
allan filmmaker
doug is a freelance wildlife and documentary photographer, specialising particularly in cold and remote locations, both topside and underwater. his work has won several baftas and emmys, amongst other awards. he was one of the principal cameramen on critically acclaimed bbc series such as the blue planet, planet earth and frozen planet.
charlotte sams
Do you find that your background in marine biology has been useful to your career?
doug allan
I value my training as a scientist because I do a lot of work with scientists; either in the field, helping me find the animals and to shoot the sequences. I’m interested in science projects and films. Being a scientist, I think I am able to bring it down to a level that people can understand. If you’re dealing with a scientist for an interview, sometimes it helps to be a scientist yourself, because then, you can establish a scientist-scientist rapport - which will be better than a director that knows nothing about the science, who can’t think in the way that a scientist does. And I’m interested in science, so therefore if you’re interested in what you’re filming, you do a better job with it.
cs
What projects are you currently working on at the moment?
da
I’m going back to the Antarctic next month to film leopard seals, which will probably end up being on a few minutes of TV. It’s actually for part of a program about a post office there… I’m also doing some filming work with leopard seals for the children’s program ‘Deadly 60’. I’m enjoying not being associated with any big name programs at the moment, and I’ll be doing a lot of talks in the
next few months too.
cs
For photographers and filmmakers just starting out, what is the standard base kit that you could suggest working with?
da
It used to be that this kind of stuff was standard; you could say 16mm that’s it, you would only be dealing with one or two different kinds of cameras. Now, there are all kinds of things, I could suggest a couple of pieces to a first year student and by the time they graduate, those cameras would be history. I wouldn’t worry too much about the cameras per se. You’re going to get employed not because you can use a RED as opposed to an f55. You want to be able to produce shots that can be cut well together, tell a story. You should be trying to familiarise yourself with as many different camera types as you can, get an idea about the technical issues, but don’t get bogged down in them, talk to professionals. I think it’s important to know about the technical jargon, but its more a question of training yourself to shoot as a filmmaker, and do that with whatever camera you’re given.
cs
As an environmental storyteller, do you feel that the Arctic is the most pressing issue that we need to focus on?
© artur tixiliski
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da
I do feel that climate change is the most overarching issue we need to take hold of because if we don’t, then it makes a mockery of every other bit of conservation. There’s no point in conserving a piece of the rainforest, or one species of animal, if we change the whole environment. I think that climate change is affecting lots of places in the world, especially the Arctic. Some people will say 2 degrees isn’t much, but if 2 degrees Celsius takes you from below freezing, to above, then the Arctic changes utterly. So I think that people should just be more aware of it. The sad thing is, when it gets worse, as it will, we can’t say we weren’t warned.
cs
You work with your subjects for weeks, months on end; do you find that with wildlife subjects, you can get emotionally attached to them?
da
Yes, to some extent it’s impossible to avoid. You can’t help but form a degree of emotional attachment to your subject. But you have to remember; you’re there to film a piece of natural behaviour. I feel it’s not my place to interfere with the outcome; I just have to stand back and watch it - you can’t afford to get involved. Predators kill things for a living, and you don’t get vegetarian carnivores… You will find things that
PIG HOUSE PICTURES INTERVIEW: DOUG ALLAN
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29 anthropomorphically could be really cruel, but it’s not your place to judge it, and you will get no sympathy if the tears in your eyes mean the focus goes soft!
cs
Could you tell us about the famous sequence in ‘Frozen Planet’, depicting never previously filmed killer whales making waves in a hunting sequence?
da
When people ask ‘how long did it take you to film that sequence?’ In some respects it took me 34 years to film it, because I heard about that behaviour 34 years ago, and ever since then I’ve been kind of looking out for it. We did actually try to get it for the series ‘Life’. Though we didn’t succeed, we proved it was possible to follow killer whales with the boat without disturbing them. I think with ‘Life’, the issue was we tried a bit too late in the season, so there wasn’t much ice, and more importantly when we followed the killer whales, there was a period of darkness between around 1 and 3am, where we lost them. So when ‘Frozen Planet’ asked me whether they thought we should do that again, I said we should, but we want 2 skippers on the boat so we could operate 24 hours a day. We wanted to go early in the summer to get 24 hours of daylight, and earlier in the summer would have more ice. We did all that, and we found the pod. We saw 25 kills, and about 150 waves, so you only saw the best of what we got. I think we were lucky. The two scientists were great, what they didn’t know about killer whales wasn’t worth knowing. I can’t imagine a better team of people to do it with. That sort of thing is invaluable.
cs
Was it one of your favourite or proudest sequences to film?
da
I was really pleased to have got it. I’ve been to the Antarctic for part of every year since 1976, and I’ve spent almost every year in the Arctic doing polar bear type stuff as well. So at this stage,
30 years after starting my career, to have been the first to film what is really ‘wildlife gold’ - a new piece of behaviour involving a charismatic carnivore - is pretty rare. Most people in their lives these days don’t film anything new for the first time, and I’ve fortunately in my career filmed 6 or 7 things for the first time, some that no-ones filmed since. Having been going for so long, and to get something like that on top, is pretty good.
cs
What is the most valuable piece of advice you’ve ever received?
da
In terms of the learning procedure, I think your best friend would be an editor. If you go and talk to an editor about the material they’re trying to handle, or the material that you’ve given, and ask them to be ruthless, you’ll learn a lot. The other things to bear in mind, which help you keep sane, are two bits of advice that someone said to me early on. I used to wrestle with “am I doing all that I can?”. But, you can only be in one place in one time. Take as much information as you can, about the circumstances or the animal, and then you’re going to make a call, and sometimes you make the wrong call, sometimes you go back and see footprints of the animal all round where you were yesterday, but you chose to go somewhere else today. Try not to let it bother you. On the other hand, if you’re not there, you’ll never get it. It’s all about being out in the field. You’ve just got to get out there and spend time looking for the animal, being in the environment, watching the animal. All the time you’re just soaking up a little bit of information.
charlotte sams is a third year ba(hons) marine & natural history photography student at falmouth university
FASHION
PIG HOUSE PICTURES FASHION MEETS RELIGION
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MEETS RELIGION
31 Nicole Gomes goes beyond fashion and religion standards to dedicate her series to the original people, “those who are true to themselves” as she puts it.
“in 2012 the world was predicted to end. i found it fascinating that in a generation where religion is considered ‘uncool’ (at least in some places in england where i’ve grown up), suddenly everyone was talking about the end of the world due to a prediction made by a religion. this series was inspired by the different beliefs i read about the world coming to an end and particularly ‘the rapture’. it is said that in the end, the good people will be chosen to ascend to heaven and the bad people will be left behind. however, what defines good and bad in a modern day context? i am a christian myself but i do not consider being good for simply living by a set of rules. i wanted to create imagery of people being true to themselves, unafraid to be who they are. as a fashion photographer i see a lot of negativity within the industry. for me fashion photography is not about trying to sell the latest trends, it’s about celebrating beauty and individuality.”
PIG HOUSE PICTURES CHEFCHAOUEN
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CHEFCHAOUEN
tj hughes
Chefchaouen is a city in the northwest of Morocco. It is the chief town of the province of the same name, and is known for its buildings in shades of blue. The city was founded in 1471, as a small fortress which still exists to this day. Chefchaouen or Chaouen, as Moroccans often call it, has become a popular tourist destination, especially among backpackers who have long known the easy availability of kief (marijuana). Chefchaouen is a popular shopping destination, as it offers many native handicrafts that are not available elsewhere in Morocco, such as wool garments and woven blankets. The Chefchaouen region is one of the main producers of cannabis in Morocco. Hashish is subsequently sold all over town, but is mostly in the domain of native Chaouenis. The countryside around it has a reputation for being a prolific source of kief (the resin glands of cannabis which have been accumulated in containers or been sifted through a mesh screen from loose dry cannabis flowers). According to a 2006 French Ministry of the Interior report, 80% of the cannabis resin consumed in Europe comes from the Rif region in Morocco.
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PIG HOUSE PICTURES BIOMIMETIC FUTURES
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by ANDREW RACE
Biomimetic Futures ‘’even in our current technologically advanced world, nature remains the benchmark for efficiency. its structures and materials form part of a tightly closed system, which has had the benefit of 3.5 billion years of evolution. imagine if we could construct our own structures more closely with its designs, growing them out of natural materials to our specifications. self repairing, environmentally aware, biomimicry could be the future.’’
PIG HOUSE PICTURES INTERVIEW: JAMES ARTHUR ALLEN
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james arthur allen | documentary photographer
james is a freelance documentary photographer and multimedia producer. his work focuses strongly on social issues, from the upheaval of communities in east london due to the 2012 olympics to ptsd and the realities of living with mental health issues. he graduated from falmouth university in 2012 with a first class Honours degree in press and editorial photography.
tom pullen
encourage engagement with issues.
Hello James. What are you up to right now?
tp
The boring and mundane I’m afraid, sat at my desk plotting and scheming.
You recently worked with the Rory Peck Trust. Could you explain what the charity does and what you did for them?
tp
ja
james allen
Who or what is inspiring you at the moment?
ja
I don’t often feel inspired; I think “driven” is a more suitable word. There are various people and projects that are driving me. I am still very close to my peers from my time at Falmouth and we stick together for support and guidance, these relationships are crucial and ensure I push myself to work harder. They drive me to do better and between us we have achieved a lot since graduating in 2012. I am often more inspired by the people in projects. A good example of this recently is Peter Van Agtmael’s “Healing Bobby”. It’s an amazing body of work that inspires from start to finish. I seem to find myself working quite closely with individuals and this body of work really excels at that. The personality of the character shines through and after a few stills or a few minutes of the film you get a really good idea of Bobby. I’m a big fan of mixing and mashing up stills, moving image anything really to add depth and to
The Rory Peck Trust works with predominantly freelance journalists from around the world who find themselves in danger or under persecution. These individuals don’t always have the support or backing of large news organisations to help them this is where the Trust steps in. They also pool a lot of resources for freelancers to take responsibility of themselves when working abroad or in dangerous environments. I initially contacted them to ask if they would support a grant application I was working on. I had a meeting in London, showed them some of my work with PTSD and they agreed to support me. Ironically I did not win the grant but the meeting with them led to dialogue and a relationship, leading to a commission in Istanbul to document the state of press freedom in Turkey. The body of work would take the form of a multimedia film to be shown at the Rory Peck Awards as well as a photo essay. Having watched the news over the summer and seen the scenes from Taksim and Gezi Park, what was immediately
apparent on arrival was the hangover from a summer of clashes. During my stay in the city sporadic rioting was still breaking out. I found the people I met to be extremely passionate about the state of things. The two women who appear in my short film have spent years living under the stigma of being labeled a “terrorist against the state” for writing and broadcasting their journalistic opinions. They have been subjected to intimidation, imprisonment and slander even more so after the summer. As a consequence, they find it very difficult to work, as the state does not recognise them as “journalists”. Most of the people I met are all facing long prison sentences with trials in the coming months; one already sentenced to seven and a half years. Its farcical, and frankly terrifying that a country with plans to join the EU can imprison people who disagree with the political ideology of the Government. Even journalists working for pro government media have found themselves facing prison or getting sacked after there coverage of the Gezi protests or certain trials involving powerful figures. A highlight was definitely seeing it played at the British Film Institute on London’s Southbank at the award ceremony.
tp
How are you finding life in the industry? Asides from researching and working on documentary projects, what takes up your time?
ja
It’s tough, that’s the first thing to say. Tough isn’t necessarily a bad thing, it means you have to adapt and be smart if you really want to get on. I wouldn’t listen too much about how the industry has changed and how photography is doomed. If you’re starting out now then you don’t know much different and as such you can only plan and adapt to the situation in front of you. Embrace Instagram, blogging and multimedia. You have to be realistic; photos alone won’t allow you to survive to start off with. I work small jobs that are photography related and some that have nothing to do with taking pictures, as I have rent, bills, transport and kit to pay for. I don’t want to sound like I’m moaning but make a plan and stick to it, learn new skills, speak to writers, videographers, poets, accountants, musicians, all these people can teach you things to stand out from the crowd.
tp
What were the highlights of your time on BA(Hons) Press & Editorial Photography?
ja
The facilities, staff, and freedom. For three years I was allowed the space to make mistakes
and learn from them. Looking at my first year contact sheets it’s mind-boggling how far you come and what you learn. Cartel Photos is a great idea too, teaching you deadlines and basic skills like preparation, communication and presentation. Embrace it, enjoy it and don’t turn anything down or stay in bed. When a guest lecturer turns up or you’re offered a portfolio review, be on the front row and ask all the questions. Just remember that when you leave Falmouth, fifteen minutes of that person’s time is likely to cost you a few hundred quid.
tp
In your opinion, what do you think are the three most important qualities a documentary photographer should have?
ja
You need to want to do it for the right reasons and that’s hard work, so desire is one. Resilience to take rejection and knocks, it can be pretty confidence knocking at the start when you send off a load of emails to people and get nothing back, or you show some one your portfolio and they pick a million things wrong with it, but you need to be able to push on and do it all over again. The next person you show it to may think it’s the best thing ever and all of a sudden a door opens for you. Be smart as well. Don’t always follow the obvious and always try and stick to your guns.
tp
Do you have any advice for soon to be graduate photographers?
ja
Work hard, create a network, be tenacious and prepare. Most importantly take photos you care about and want to take, rather than ones you think you should take to impress other people. Get a good accountant as well and learn basic business skills. That’s a good tip after recently filing my first tax return.
tp
Finally, what’s next for you?
ja
To kick on in 2014, I have few irons in the fire which are quite exciting. I can’t say too much about them yet. I also plan to move to East Africa for a period of time towards the end of the year with my partner who is a nurse. This should enable me to pursue some stories I’ve been researching. Most importantly I just want to keep moving forward and continue to photograph the things I care about.
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PIG HOUSE PICTURES INTERVIEW: JAMES ARTHUR ALLEN
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over the last decade turkey has vehemently cracked down on the press, jailing journalists on a huge scale. using terrorism or anti-state charges, many wait years for trial all the while living with the smear, stigma and label of being a terrorist. turkey’s imprisonment of journalists surpasses the most repressive countries in the world including iran (42), eritrea (28) and china (27). turks & tourists walk in taksim Square, istanbul, turkey. the square and the park that lays in it became infamous world wide in the summer of 2013 as the focal point of the gezi park movement. 1000’s of turks went to the streets to vent and peacefully protest there dissatisfaction with the turkish government headed by the autocratic prime minister of turkey recep tayyip erdogan.
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a large poster of a woman in a traditional muslim hijab advertises conservative fashion near istikal st, the main shopping area in istanbul. the government in turkey is increasingly pushing a traditional conservative agenda. many young secular turks and journalists have been persecuted and marginalized for opposing and questioning the ruling akp conservative right wing policies.
PIG HOUSE PICTURES INTERVIEW: JAMES ARTHUR ALLEN
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tugce tatari has worked as a columnist and tv reporter for the turkish mainstream pro government media for the last eight years. she covered the gezi park protests for the pro government aksim newspaper. she and 22 colleagues where fired after the protests for openly criticising the government and the polices actions in articles printed during and after the protests. she has recently found out that prosecutors are seeking charges against her for in sighting the riots; this will almost certainly carry the risk of a custodial sentence.
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the saturday mothers perform a silent protest on istikal st requesting the government to return the bones of many men who disappeared in the east of the country in the 1970’s, 1980’s and 1990’s. prior to turkeys bid to join the eu in 2000 many people who opposed or questioned the government simply disappeared.
PIG HOUSE PICTURES OIL IN THE CLOTHES
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Oil in the Clothes elliot munns With a staggering 20 million barrels being burned a day, today’s modern society is essentially dependent on the consumption of oil. Our current level of consumption is exceeding the levels in which we can produce it. It has been predicted that in the foreseeable future oil will become a commodity only in the hands of the 1%. Oil is used in the production of almost everything, we as a society, have become accustomed to; we spray it on our crops as pesticides and wear it on our backs in the form clothes. My images have been constructed to highlight this issue. Inspired by the connotation, ‘Blood Diamond’, ‘Oil in the Clothes’ aims to target the truth about what we wear by translating this information into fashion - for fashion also affects us all. Is it our consumerist hunger and capitalist tendencies that essentially cause such demand? Have you ever thought how much oil you burn, waste ... wear?
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gemma malenoir
The Structure of the Avian Wing
the structure of the avian wing was a scientific research project conducted through photographic observations. i studied the avian wing’s evolutionary change through time by looking at how it began in prehistory to what it has formed into on today’s earth. i supported this research by further looking into the aesthetics of the subject, eventually choosing to represent my project with the wings and feathers of mute swans, their white colour tone corresponding nicely with their skeletal structure. the top row of the piece displays detailed shots of the tough exterior ‘primary’ feathers, and the much softer ‘down’ feathers of the swan, which each have their own purpose and function for the wing. the middle row displays an array of viewpoints of the skeletal structure, with the final section of the piece representing the complete living constitution of the wing. each photograph is individual and has been taken from a different angle to the one before; i aligned them together to create the final outcome.
PIG HOUSE PICTURES LEGACY
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In the summer of 2012, 4,237 athletes from 164 countries competed for 503 medals as our nation treated the world to a spectacle of unparalleled Paralympic sport. 251 world records were broken in the twelve days of competitive sport. In this country alone, 2.7 million spectators watched the action live, with another 39 million watching on TV at home as the whole nation were obsessed with disabled sport. Following the success of the London 2012 Paralympics, disability sport was tipped to rise across the United Kingdom. Last December it was announced that Paralympic Sport would see a record 47% increase in funding for Rio 2016, following the success of British Paralympic Athletes. However, controversially in the months
legacy by patric k campbell
after this announcement a survey by the Sport and Recreation Alliance said that 96 per cent of UK Gyms report no increase in disabled membership since the Paralympic Games. In the final comments of the Paralympic closing ceremony Lord Coe reiterated what was the widespread opinion when he stated that: “In this country we will never think of sport the same way and we will never think of disability the same way… the Paralympians have lifted the cloud of limitation”. As we have now reached 2014, with Rio just over 2 years away, and the Sochi Winter Paralympics closing in, this project aims to discuss the conditions of disability sport at grassroots level, and assess whether funding for Rio 2016 is impacting rural areas in a positive manner.
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If you had asked me last year to sum up what I thought Cornwall meant to the wider community, my answer would probably revolve around it’s rich maritime history, secret coves and windswept beaches, or perhaps it’s mining heritage. What I wouldn’t have known about, however, was the Gorsedh Kernow. The Gorsedh Kernow exists to promote the unique culture of Cornwall. Its 300 or so Bards, who are chosen in recognition of their outstanding work for Cornwall, wear distinctive blue robes and regalia at an outdoor gathering every September. Julia Nottingham, a third year student on BA(Hons) Press & Editorial Photography at Falmouth created a portrait series giving face to the many bards, all awarded for their varied talents and skills. “I feel there is a lack of understanding and knowledge about the Cornish Gorsedh,” she said. “So I hope my project will raise awareness of bards and the ancient Cornish tradition.” Exhibiting her portraits at The Poly, Falmouth, for a week meant that the public could see a side of Cornish tradition otherwise rarely spoken of. The opening night included Bards in the audience; a stark reminder that, without their signatory blue gowns, they are everyday people, from everyday trades, who have simply contributed to the Cornish cannon. From the tradition of silver ball hurling, to the teaching of Cornish language, the portraits stand not just to promote the Gorsedh Kernow, but also to publicly promote the celebration and engage conversation about what Cornwall means, and what the Cornish can relate to. It is clear through exhibitions such as Julia’s that there are countless stories and tales on our doorstep. The Bards are all in agreement that these tales and cultures need preserving, by waving the Cornish flag proudly and for all to see, Julia’s project and the subjects involved are ensuring that the values of Cornwall can never be forgotten.
PIG HOUSE PICTURES EXHIBITION REVIEW: CORNISH BARDS BY JULIA NOTTINGHAM
exhibition review: cornish bards by julia nottingham
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