Subject
I took this during the first Photoworks workshop on heirlooms; this image includes objects that are important to my identity and that I think would make significant heirlooms to future generations. There is also a hint at my black lives matter poster in the reflection on the guitar which is another thing that needs to not be forgotten about.
Subject
The purpose and use of the megalithic sites we see remains of today have always been a mystery to us and look like they always will. This series titled 'Sacred Places' celebrates the different interpretations for their creation that have evolved over time through folklore, allegory, myth and legend in an attempt to understand their presence within the landscape.
This photo shows the Merry Maidens stone circle near Penzance in Cornwall. This circle is said to be all that is left of a group of local girls who were caught dancing on the Sabbath and petrified as punishment. The two musicians who played for them heard a nearby church clock striking midnight and began to run away but were also turned to stone. They now form the two standing stones found nearby, referred to as The Pipers. The 19 stones of the circle are thought to mirror the cycle of the moon due to them gradually diminishing in size from southwest to northeast.
Subject
This image links to play as books are a frequent source of entertainment for me. It also links to heritage because these are all LGBTQ+ books, that I have arranged in a rainbow, and they have been important to me and my identity.
Subject
This is an image from Bellwether Town, a project I worked on about my hometown of Basildon in Essex and the kind of lifestyle my friends and I lived on the estate we grew up on. The work talks about stigma, identity, and its relationship with space and is very personal to me.
Subject
This is a photograph of my father that is White and my grandmother that is Black. My brother is the bridge that connects both family members together. Even though they're sitting next to each other there is still separation and my brother is what holds them together as one.
Subject
These images are part of a wider project, entitled "Home". In it, I explore what the concept of family, community, and indeed heritage means to those in the LGBTQ+ Community. I've grown up only seeing myself and my fellow LGBT siblings portrayed only in upsetting and pessimistic imagery; black and white scenes of young people crying at the mirror, or stories of tragedy and hardships in the media. Whilst this is certainly an aspect of our reality, I am frustrated that our community isn't also shown for the vibrant, loving, accepting and supportive environment that it is. Many of us have found a real sense of family within this community, and prove that the idea of heritage and familial history isn't only defined by our blood relations, but also those who share a bond that goes beyond genetics.
In short, the mission of Home is not to make a statement about the tragedies of queer lives, present as they may be. Instead, it seeks to portray individuals grounded in their reality – that is to say, one of friendship, of solidarity, of community and of hope. Most importantly, I hope to celebrate this beautiful community's family and heritage.
Subject
A young working-class girl in hunting uniform.
Easily dismissed as a pursuit for the rich and out-of-touch, hunting in the countryside is for all. Many people take advantage of the hunt resources, networking opportunities, and community. Discounts are offered for allowing the hunt across your land, as well as invites to parties, meetings, get-togethers and dances.
At a time where farmers have the highest rate of suicide, and with a net loss of rural teens choosing to leave the countryside, how is heritage being reworked in order to benefit and engage a wider range of residents?
Subject
These images are part of a wider project, entitled "Home". In it, I explore what the concept of family, community, and indeed heritage means to those in the LGBTQ+ Community. I've grown up only seeing myself and my fellow LGBT siblings portrayed only in upsetting and pessimistic imagery; black and white scenes of young people crying at the mirror, or stories of tragedy and hardships in the media. Whilst this is certainly an aspect of our reality, I am frustrated that our community isn't also shown for the vibrant, loving, accepting and supportive environment that it is. Many of us have found a real sense of family within this community, and prove that the idea of heritage and familial history isn't only defined by our blood relations, but also those who share a bond that goes beyond genetics.
In short, the mission of Home is not to make a statement about the tragedies of queer lives, present as they may be. Instead, it seeks to portray individuals grounded in their reality – that is to say, one of friendship, of solidarity, of community and of hope. Most importantly, I hope to celebrate this beautiful community's family and heritage.
Subject
This image is from the series, “Women from the Pakistani Diaspora”. This self-portraits project is composed in Birmingham and explores my mothers identity as an 18-year-old woman of Pakistani origin who emigrated to the United Kingdom. I depict these images by showcasing outfits that were worn by my mother over 35 years ago and by visiting the places that were significant to her life as a young migrant woman in Britain.
The women from the Pakistani diaspora who relocated to the UK were very often the hardworking wives, daughters, mothers and grandmothers of individuals who had migrated from cities, towns and small villages in Pakistan. These individuals came to the UK to work in key industrial sectors and set up businesses that contributed towards the healthy economy of their new-found nation. Pakistani women provided a crucial envelopment of familiarity and comfort that gave their husbands, fathers, children and grandchildren a sense of their place of origin – making it a home away from home. Maryam’s self-portrait collection seeks to recognise the existence and achievements of such Pakistani women and their role as the backbone of a community that transformed inner-city Britain.
Today, British Pakistani women continue to revolutionise gender roles for other women through the determination, emotional support and encouragement of their female peer network.
Subject
These images are part of a wider project, entitled "Home". In it, I explore what the concept of family, community, and indeed heritage means to those in the LGBTQ+ Community. I've grown up only seeing myself and my fellow LGBT siblings portrayed only in upsetting and pessimistic imagery; black and white scenes of young people crying at the mirror, or stories of tragedy and hardships in the media. Whilst this is certainly an aspect of our reality, I am frustrated that our community isn't also shown for the vibrant, loving, accepting and supportive environment that it is. Many of us have found a real sense of family within this community, and prove that the idea of heritage and familial history isn't only defined by our blood relations, but also those who share a bond that goes beyond genetics.
In short, the mission of Home is not to make a statement about the tragedies of queer lives, present as they may be. Instead, it seeks to portray individuals grounded in their reality – that is to say, one of friendship, of solidarity, of community and of hope. Most importantly, I hope to celebrate this beautiful community's family and heritage.
Subject
My images are about what I and my friends do for fun. We play but as adults. This comes with a few benefits like being able to drive and not having to ask for permission to leave the house. Therefore we take full advantage of our age!
The photos I am sharing follow our day of exploring and riding. We walked, sat, talked and road all along the hilly cliffs of Compton, Isle of Wight.
Subject
From my project 'The women who came before me' which explores the relationships I have held with the women in my family history. What is important about all of the women in my family is that either directly or indirectly, their words, actions and appearances have helped shape who I am. To illustrate this influence, I have archived and created mixed-media installations of family photos by pairing the images with fabrics (dupattas) hand-picked and worn by my mother.
Subject
This image is from the series, “Women from the Pakistani Diaspora”. It is a self-portrait composed in Birmingham that explores my mothers identity as an 18-year-old woman of Pakistani origin who emigrated to the United Kingdom. I have depicted these images by showcasing outfits that were worn by my mother over 35 years ago and by visiting the places that were significant to my mother’s life as a young migrant woman in Britain.
The women from the Pakistani diaspora who relocated to the UK were very often the hardworking wives, daughters, mothers and grandmothers of individuals who had migrated from cities, towns and small villages in Pakistan. These individuals came to the UK to work in key industrial sectors and set up businesses that contributed towards the healthy economy of their new-found nation. Pakistani women provided a crucial envelopment of familiarity and comfort that gave their husbands, fathers, children and grandchildren a sense of their place of origin – making it a home away from home. My self-portrait collection seeks to recognise the existence and achievements of such Pakistani women and their role as the backbone of a community that transformed inner-city Britain.
Today, British Pakistani women continue to revolutionise gender roles for other women through the determination, emotional support and encouragement of their female peer network.
Subject
We have mountains of historical and familial ephemera in the house which my Dad regularly goes through or leaves lying around for shadows to fall across. I love the flattening, condensing effect photographing can have on a subject and, here, the light helps frame and form this composite scenes.
Subject
My image is of me and my mother. It's my untold story of my family as part of a wider project which is ongoing. I am a convert to Islam and I feel this image truly shows the contrast of who we are, who I used to be and who I am now. I am the second oldest of 7 of us with 2 different dads, my mum always told me I was the "odd borne" the "black sheep of the family" and now I truly feel I do not quite fit in with them, my mum's dad is a Romany Gypsy so it was a shock to them all they don't fully understand me now but I feel they never did anyway.
Subject
This image links to play as books are a frequent source of entertainment for me. It also links to heritage because these are all LGBTQ+ books, that I have arranged as a rainbow, and they have been important to me and my identity.
Subject
The main connection to his heritage my Granddad shared with me was the food of his home country of Guyana. He was poor at sharing recipes, cooking too quickly and just getting on with it or sneaking in secret ingredients. A few years after he died, my mum and I both really specifically fancied something in the style of "jungle food", as he called it, which involves fried plantain, dumplings, coconut-y sauce and often fresh fish. This image shows my mum's hands, which I share, as she peels the tough skin of the plantain, I love all the softened points and tips and the proximity we feel looking at it.
Subject
These images are part of a wider project, entitled "Home". In it, I explore what the concept of family, community, and indeed heritage means to those in the LGBTQ+ Community. I've grown up only seeing myself and my fellow LGBT siblings portrayed only in upsetting and pessimistic imagery; black and white scenes of young people crying at the mirror, or stories of tragedy and hardships in the media. Whilst this is certainly an aspect of our reality, I am frustrated that our community isn't also shown for the vibrant, loving, accepting and supportive environment that it is. Many of us have found a real sense of family within this community, and prove that the idea of heritage and familial history isn't only defined by our blood relations, but also those who share a bond that goes beyond genetics.
In short, the mission of Home is not to make a statement about the tragedies of queer lives, present as they may be. Instead, it seeks to portray individuals grounded in their reality – that is to say, one of friendship, of solidarity, of community and of hope. Most importantly, I hope to celebrate this beautiful community's family and heritage.
Subject
I want to explore the untold stories and heritage of Africans, to see that it's not only about slavery but the rich culture we have as a continent.
Subject
I like this image because the mirror frames me and my dog yet her face is visible in the foreground which adds depth. I took this image during the Photoworks workshop and I am proud of the result!
Subject
Grandad’s (broken) pocket watch.
Time, on many occasions has triggered episodes of depression in my life; worrying about the uncertain future, dwelling on the distant past and therefore not existing in the present.
I hadn’t realised that it was a year ago today since my grandfather passed away. His death came at a time when I was beginning to reconnect with my paternal family, which meant it was much more difficult to deal with and process.
These photographs are part of a wider, ongoing series: Sometimes A Silence Will Cut Through Sounds, which responds to grief and a family history of mental health problems.
Subject
The purpose and use of the megalithic sites we see remains of today have always been a mystery to us and look like they always will. This image is from a series titled 'Sacred Places', that celebrates the different interpretations for their creation that have evolved over time through folklore, allegory, myth and legend, in an attempt to explain their presence within the landscape.
This photo depicts Lanyon Quoit near Madron in Cornwall. Legend has it that megalithic dolmens in Cornwall were created by Cornish giants, who threw the stones into position whilst playing a game of quoits. It is said that King Arthur ate a meal before his last battle, the Battle of Camlann, on top of these stones and that the bones of a giant were found inside the tomb.
Subject
I took this image during the Photoworks 'play' workshop, I was playing around with reflections when I took this of my Doctor Who funko pop. I think the reflection from the paperweight I used as a lens captures the atmosphere of Doctor Who which has been a significant part of my childhood and heritage.
Subject
I love photographing my staffy, her brindle fur and greying face add texture to the image and even though she's a dog she still has a clear expression on her face. I took this image during the Photoworks workshop and I am proud of the result despite her not wanting to sit still!
Subject
This photo is part of a collection of photos taken on Newhaven’s castle hill in May when the White Hawthorne blossoms and it’s unctuous display entice the bees to come out and play.
In many cultures the colour white denotes the element of light, the May season to me then is the season of ‘ascending light’. Like a burst of light across the hill for a few weeks. The sun is in fact reflected on the pearlescent surface of billions of mirror-like petals.
I decided to use this opportunity in an area very near to my house to wander around and capture some of the magic that the Hawthorne brings to Castle Hill in the month of may and visit the ruins with my friend, who is the subject of these photographs.
Subject
The purpose and use of the megalithic sites we see remains of today have always been a mystery to us and look like they always will. This series titled 'Sacred Places' celebrates the different interpretations for their creation that have evolved over time through folklore, allegory, myth and legend in an attempt to understand their presence within the landscape.
This image depicted Tregiffian Burial Chamber near Penzance, Cornwall. It is an entrance grave and was used as a funeral and ritual monument. Cremated bone and funerary urns have been found inside and one of the two portal slabs at its entrance is of special interest due to its face being covered in 25 carvings called cup marks. It is speculated that the 12/13 combination of circular and elongated marks is directly connected to the cycles of the moon, being that in any given year there are 13 full moons and 12 new moons.
Subject
This is an image of a peacock made out of leaves and flowers laid out on the floor (called a pookalam) in order to celebrate a South Indian festival called Onam. We usually use flower petals but this year we went around our neighborhood and collected a few leaves and flowers to make a colorful flower mat to signify the return of Mahabali and the prosperity of the harvest season. This ancient legend has been celebrated from generation to generation of the people of Kerala from all over the world.
Subject
This is an image from Bellwether Town, a project I worked on about my hometown of Basildon in Essex and the kind of lifestyle my friends and I lived on the estate we grew up on. The work talks about stigma, identity, and its relationship with space and is very personal to me.
Subject
These images are part of a wider project, entitled "Home". In it, I explore what the concept of family, community, and indeed heritage means to those in the LGBTQ+ Community. I've grown up only seeing myself and my fellow LGBT siblings portrayed only in upsetting and pessimistic imagery; black and white scenes of young people crying at the mirror, or stories of tragedy and hardships in the media. Whilst this is certainly an aspect of our reality, I am frustrated that our community isn't also shown for the vibrant, loving, accepting and supportive environment that it is. Many of us have found a real sense of family within this community, and prove that the idea of heritage and familial history isn't only defined by our blood relations, but also those who share a bond that goes beyond genetics.
In short, the mission of Home is not to make a statement about the tragedies of queer lives, present as they may be. Instead, it seeks to portray individuals grounded in their reality – that is to say, one of friendship, of solidarity, of community and of hope. Most importantly, I hope to celebrate this beautiful community's family and heritage.
Subject
“We Do Not Inherit the Earth from Our Ancestors; We Borrow It from Our Children.” - Native American Proverb.
These images are from my project entitled Finite. It looks at the human impact on the environment and the world we are creating. In response to the climate crisis I wanted to produce work that highlighted the impact of our 21st-century society. I visited Iceland to photograph the disappearing landscape and the glacier tongues of vatnajökull. Some of which will be completely gone in my lifetime. I wanted to document the beautiful and fragile glacier to keep a record of what once was, as well as show people the irreversible damage that is being done. Another impact to the earth is again our use of crude oil which takes its form as plastic. Polluting our oceans and suffocating marine life. I photographed plastic bags to create these deep-sea creatures to give a glimpse into the perhaps not so distant future where our pollution has now integrated into a living organism. I juxtaposed images of a world that is cracking and crumbling with a vision of what we are leaving for future generations.
Subject
Taken at Rufford Abbey on the grounds of the site! I thought this little guy was so striking with the bright orange with the black contrast! Crazy how something so small can be created which so beautiful.
Subject
I love this black and white edit as it highlights her greying face and lively eyes. I also think the use of a light coloured blanket as the backdrop works well as it doesn't distract from the subject. I took this image during the Photoworks workshop and I am proud of the result!
Subject
For my practice as a photographer, I have been appropriating my old family photographs through manipulation and digital editing. I have been researching into my ancestry/genealogy as culture and identity are huge factors that contribute to my practice. The image I have chosen to submit is of my grand-uncle with his parents, I have also been experimenting with the idea that the back of a photograph holds value and an untold history, I've been layering and merging these images to tell a story of a past time so personal and important to myself. My great-grandparents were a part of the Windrush generation and I find great pride in them as individuals, the lives they lead are the stories of tomorrow.
Subject
Grandad’s (broken) pocket watch.
Time, on many occasions has triggered episodes of depression in my life; worrying about the uncertain future, dwelling on the distant past and therefore not existing in the present.
I hadn’t realised that it was a year ago today since my grandfather passed away. His death came at a time when I was beginning to reconnect with my paternal family, which meant it was much more difficult to deal with and process.
These photographs are part of a wider, ongoing series: Sometimes A Silence Will Cut Through Sounds, which responds to grief and a family history of mental health problems.
Subject
“We Do Not Inherit the Earth from Our Ancestors; We Borrow It from Our Children.” - Native American Proverb.
These images are from my project entitled Finite. It looks at the human impact on the environment and the world we are creating. In response to the climate crisis, I wanted to produce work that highlighted the impact of our 21st-century society. I visited Iceland to photograph the disappearing landscape and the glacier tongues of vatnajökull. Some of which will be completely gone in my lifetime. I wanted to document the beautiful and fragile glacier to keep a record of what once was, as well as show people the irreversible damage that is being done. Another impact to the earth is again our use of crude oil which takes its form as plastic. Polluting our oceans and suffocating marine life. I photographed plastic bags to create these deep-sea creatures to give a glimpse into the perhaps not so distant future where our pollution has now integrated into a living organism. I juxtaposed images of a world that is cracking and crumbling with a vision of what we are leaving for future generations.
Subject
“We Do Not Inherit the Earth from Our Ancestors; We Borrow It from Our Children.” - Native American Proverb.
These images are from my project entitled Finite. It looks at the human impact on the environment and the world we are creating. In response to the climate crisis I wanted to produce work that highlighted the impact of our 21st-century society. I visited Iceland to photograph the disappearing landscape and the glacier tongues of vatnajökull. Some of which will be completely gone in my lifetime. I wanted to document the beautiful and fragile glacier to keep a record of what once was, as well as show people the irreversible damage that is being done. Another impact to the earth is again our use of crude oil which takes its form as plastic. Polluting our oceans and suffocating marine life. I photographed plastic bags to create these deep-sea creatures to give a glimpse into the perhaps not so distant future where our pollution has now integrated into a living organism. I juxtaposed images of a world that is cracking and crumbling with a vision of what we are leaving for future generations.
Subject
Taken in a suburban car boot sale early on a Sunday morning. There is something so vulnerable and intimate about seeing all of someone’s stuff. Becoming a witness to their obsessions, collections, achievements, archives. Personal objects are like emblems of a life, and they’re unceremoniously disclosed on a plastic table or white sheet. (This image is taken from a longer series archiving car boot sales during 2020 in the wake of lockdown).
Subject
This image is from the series, “Women from the Pakistani Diaspora”. It is a self-portrait composed in Birmingham that explores my mothers identity as an 18-year-old woman of Pakistani origin who emigrated to the United Kingdom. I have depicted these images by showcasing outfits that were worn by my mother over 35 years ago and by visiting the places that were significant to my mother’s life as a young migrant woman in Britain.
The women from the Pakistani diaspora who relocated to the UK were very often the hardworking wives, daughters, mothers and grandmothers of individuals who had migrated from cities, towns and small villages in Pakistan. These individuals came to the UK to work in key industrial sectors and set up businesses that contributed towards the healthy economy of their new-found nation. Pakistani women provided a crucial envelopment of familiarity and comfort that gave their husbands, fathers, children and grandchildren a sense of their place of origin – making it a home away from home. My self-portrait collection seeks to recognise the existence and achievements of such Pakistani women and their role as the backbone of a community that transformed inner-city Britain.
Today, British Pakistani women continue to revolutionise gender roles for other women through the determination, emotional support and encouragement of their female peer network.
Subject
This image is from the series, “Women from the Pakistani Diaspora”. It is a self-portrait composed in Birmingham that explores my mothers identity as an 18-year-old woman of Pakistani origin who emigrated to the United Kingdom. I have depicted these images by showcasing outfits that were worn by my mother over 35 years ago and by visiting the places that were significant to my mother’s life as a young migrant woman in Britain.
The women from the Pakistani diaspora who relocated to the UK were very often the hardworking wives, daughters, mothers and grandmothers of individuals who had migrated from cities, towns and small villages in Pakistan. These individuals came to the UK to work in key industrial sectors and set up businesses that contributed towards the healthy economy of their new-found nation. Pakistani women provided a crucial envelopment of familiarity and comfort that gave their husbands, fathers, children and grandchildren a sense of their place of origin – making it a home away from home. My self-portrait collection seeks to recognise the existence and achievements of such Pakistani women and their role as the backbone of a community that transformed inner-city Britain.
Today, British Pakistani women continue to revolutionise gender roles for other women through the determination, emotional support and encouragement of their female peer network.
Subject
This is my sister, who when she was little used to say she was ‘half-Liverpool, half-India‘ about her heritage. Although we live in London, my Dad’s Liverpool heritage is important to us. We go back to visit my Nana and enjoy being by the water and looking at the sunset.
Subject
Growing up in a Buddhist household, I am surrounded by many religious talisman, amulets, statue and paintings. One of my favourite embroidered pieces is the Yellow Jambhala. As he feels like a father figure to me, giving our family protection, constantly being there for us day and night.
Subject
‘It must be somewhere here’ is a year-long survey of the Northern deep coal-mining landscape. As the granddaughter of two miners, it acts as both a geographical study and inquiry into ancestry. A departure to colour depicts former colliery sites which have been visually affected by the chemical aftermath of deep coal-mining. Unnaturally high levels of manganese in still-draining mine-water stains rocks orange, and the erosion of cliff formations reveals materials from a colliery landfill. I record various places of memorial and colliery remains. Through ‘slow’ large format photography, and the photopolymer gravure, I create works in which time cannot be specified, where the process is elongated as much as possible, commenting on manual labour, materiality and the ritual of returning home to walk in the empty industrial lands where man once laid his hand.
Subject
Here is an image I took of my Staffy during the Photoworks pets/animals workshop, she has been part of my life for almost 10 years and I love this photo of her yawning. At first, you see the teeth and it may connote aggression but underneath the first impression, she's a lovely, old dog who was just focused on the treats during this photoshoot!
Subject
This Photograph is from my series Ex Mare Dei Gratia which is Canvey Island’s Coat of Arms, meaning ‘From the Sea, by the Grace of God.
Within this project, I look at the identity of Canvey through individuals within the community as well as the unique landscape it inhabits, influenced by tourism, industry and the surrounding sea wall which is a constant reminder of their vulnerability to tidal waters.
This is Mike Towett. I met him outside his house which lies just behind the island's sea wall. I told Mike about the project I was working on and he invited me in for a cup of tea which turned into lunch. I sat upstairs in his lounge overlooking the estuary and listened to Mike and his wife talk of their travels around the world and the stories behind their eclectic collection of art. Their house was truly a map of their life’s experiences.
Mike is 79 years old and has always lived locally, the last 49 years being on the island itself. Mike worked as an oil spill consultant for refineries along the River Thames. Living at the mouth of the Thames with an overlooking view from his balcony, the river is still very much part of his life.
Subject
Over the duration of lockdown and now too, amidst the global pandemic during these strange times, I’ve been working on a small (in progress) project of documenting my time spent in the family home and going on walks. These little walks in a rural place, or one away from my house, provide me with the small bit of freedom and escapism needed to clear my head and allow emotive contemplation during such difficult and challenging times both for my future career and wellbeing. These have almost become documentation of a photographic diary, an ‘isolation diary’.
I’ve been photographing on solely my iPhone, as this was the only equipment available to me at the time of starting the project (I had left all of my photography equipment in my university house and had moved back to my family home at the start of lockdown!) – this has actually meant I have taken a bit more time considering and taking the photos as the iPhone is not the most technically sound piece of equipment to do a project with! Therefore, more care has been taken to capture what I’m drawn to wanting to capture, through the act of looking and getting the right angle.
I’ve been observing the light, the passing of time, objects which take my interest whether it’s due to how the light shines on it or the way it’s haphazardly fallen to the floor. I've always had a strong connection with the themes of intimate photography and capturing familiar environments or those relating to the home - this image and my others for this series, depict the culture my family have and of their focus doing up houses as projects.
Subject
I took this of my dog buster playing with his favourite ball! The mirror I actually bought from an antique store in Bolsover when visiting the castle.
Subject
This piece is called " Tower of Books". I explored the idea of sequencing and collaging through photography to tell a story. This piece shows a 10 grided photography of books stacked on top of each other, until the very end where it falls. I wanted to showcase what a person might do when they are bored and have a lot of freedom, especially during the COVID-19 lockdown, and that is why I entered this piece under the theme "play".
Subject
This picture is trying to explain that playing is for all ages and you can come back to it at any time and have a flood of memories come back to you.
Subject
The picture is taken at Auschwitz, it shows the untold story of what happened there. People were told that they will be taken to working camps, so naturally they packed household items. All the items in the picture belonged to people that realised they were told a lie. They had to throw away all the mugs and plates and whatever they brought, realising the items will not be needed.
Subject
‘It must be somewhere here’ is a year-long survey of the Northern deep coal-mining landscape. As the granddaughter of two miners, it acts as both a geographical study and inquiry into ancestry. A departure to colour depicts former colliery sites which have been visually affected by the chemical aftermath of deep coal-mining. Unnaturally high levels of manganese in still-draining mine-water stains rocks orange, and the erosion of cliff formations reveals materials from a colliery landfill. I record various places of memorial and colliery remains. Through ‘slow’ large format photography, and the photopolymer gravure, I create works in which time cannot be specified, where the process is elongated as much as possible, commenting on manual labour, materiality and the ritual of returning home to walk in the empty industrial lands where man once laid his hand.
Subject
In tribute to my late grandmother, who passed away when I was very young, my image depicts her alongside myself, my brother (riding the donkey) and mother at Broadstairs.
Having been abandoned by her father at the age of four, as an Irish immigrant she was sent to live in a Catholic convent in Southampton. Whilst there, like so many other children who were put under the care of the Catholic Church, she was both poorly treated and abused. This ultimately affected her for the rest of her life as she suffered from depression and anxiety. Having been a heavy smoker and drinker all her life, she died of a stroke in her early sixties' when I was just three years old.
This is only one of a handful of photos that we now have of us together. Drawing on ideas of memory and materiality, writer Gene McSweeney explores the idea of the film process being one that is closer to our lives than we think. He suggests how like skin, the chemicals in film age affecting the final image; photographs deteriorate and become damaged over time. Like the photograph itself, my grandmother's life was one of struggle and hardship; yet despite this, there were still glimpses of happiness and love within it.
Subject
This image is from the series, “Women from the Pakistani Diaspora”. It is a self-portrait composed in Birmingham that explores my mothers identity as an 18-year-old woman of Pakistani origin who emigrated to the United Kingdom. I have depicted these images by showcasing outfits that were worn by my mother over 35 years ago and by visiting the places that were significant to my mother’s life as a young migrant woman in Britain.
The women from the Pakistani diaspora who relocated to the UK were very often the hardworking wives, daughters, mothers and grandmothers of individuals who had migrated from cities, towns and small villages in Pakistan. These individuals came to the UK to work in key industrial sectors and set up businesses that contributed towards the healthy economy of their new-found nation. Pakistani women provided a crucial envelopment of familiarity and comfort that gave their husbands, fathers, children and grandchildren a sense of their place of origin – making it a home away from home. My self-portrait collection seeks to recognise the existence and achievements of such Pakistani women and their role as the backbone of a community that transformed inner-city Britain.
Today, British Pakistani women continue to revolutionise gender roles for other women through the determination, emotional support and encouragement of their female peer network.
Subject
My Dad has been gathering, sorting and displaying family archival images for years and I am particularly interested in how they interact with, and exist, in the spaces they now inhabit. How they talk to each other, how they fit into the space and how they sit against other surfaces.
Subject
Everyone has a story. And disability is not inability. With the right people by your side, everything is possible.
The picture is of a grandmother and her granddaughter. Helping the grandmother to fetch firewood.
Subject
The purpose and use of the megalithic sites we see remains of today have always been a mystery to us and look like they always will. This series titled 'Sacred Places' celebrates the different interpretations for their creation that have evolved over time through folklore, allegory, myth and legend in an attempt to understand their presence within the landscape.
This photo shows Mên-an-Tol near Penzance in Cornwall. Its name means 'the stone of the hole' in Cornish and the site was once a larger stone circle made up of 18-20 stones, but now this is all that remains. Holed stones have long been used in fertility rituals and it is said that if a woman passes through the stone 7 times backwards under the light of a full moon, she will soon become pregnant. The site is also said to be home to a guardian piskie capable of curing ailments such as rickets in children if they are passed through the stone 9 times naked.
Subject
I wanted to explore the idea of play through imagination - the model may be sitting on a stool in front of a camera in real life, but in her mind, she is dreaming of being in a fairytale.
Subject
‘It must be somewhere here’ is a year-long survey of the Northern deep coal-mining landscape. As the granddaughter of two miners, it acts as both a geographical study and inquiry into ancestry. A departure to colour depicts former colliery sites which have been visually affected by the chemical aftermath of deep coal-mining. Unnaturally high levels of manganese in still-draining mine-water stains rocks orange, and the erosion of cliff formations reveals materials from a colliery landfill. I record various places of memorial and colliery remains. Through ‘slow’ large format photography, and the photopolymer gravure, I create works in which time cannot be specified, where the process is elongated as much as possible, commenting on manual labour, materiality and the ritual of returning home to walk in the empty industrial lands where man once laid his hand.
Subject
The purpose and use of the megalithic sites we see remains of today have always been a mystery to us and look like they always will. This series titled 'Sacred Places' celebrates the different interpretations for their creation that have evolved over time through folklore, allegory, myth and legend in an attempt to understand their presence within the landscape.
This photo depicts Chûn Quoit near Sr. Just in Cornwall. Meaning 'house on the downs' in Cornish, it sits on picturesque moorland overlooking the sea. It is thought to have been used for tribal rituals and religious ceremonies, as from its position the setting midwinter sun is framed perfectly by a rocky hill on the horizon called Carn Kenidjack, who's name means 'hooting cairn' and stems from the sound the wind makes when passing through it.
A stone's throw away are the ruins of Chûn Castle, which is said to have been home to the giant Old Denbras the Hurler. The story goes that he was killed in a wrestling match by a local man named Tom. From his victory, Tom inherited the castle, but only on the condition that he buries the giant at his favourite seat (the quoit) on the hill looking out to sea.
Subject
Hide and Seek - Haunted version.
The catcher have to hide under the cloth while counting down, and walk around with it in the dark when the time is up.
It is one of my favourite childhood game as it is very thrilling for both the catcher and the hiders.
