Tag Archives: Isolation

Brighton Photo Fringe Photo Stroll Part One – Jinkyun Ahn, The Photocopy Club and The Unphotographable with Farnham student Catherine Symons

Trying to get work together for the Brighton Photo Fringe with Tri-pod and our work-in-progress show IS THAT IT (more to come later), plus moving and looking for work has been full on.

I’m now based in Brighton, for the time being, and while I find my feet, I asked Farnham student Catherine Symons, who attended the press view, to cover it for the blog. It’s great to get another perspective, let go and allow someone else the space to preview the shows…

So, I now hand over to Catherine for the first of two posts.


Confrontation 1 from On The Surface Of Images © Jinkyun Ahn. Photo courtesy of the artist and The Phoenix Brighton

On Saturday 6 October the Brighton Photo Fringe 2012 was launched, starting at Phoenix Brighton. Phoenix Brighton is used this year to showcase OPEN 2012.  Over 100 submissions were received and On The Surface Of Images by Korean photographer Jinkyun Ahn was selected as the winner by Clare Grafik, Susanna Brown and Oliver Chanarin.

Photographer Jinkyun Ahn in conversation with Afshin Dehkordi, Photograph by Catherine Symons

Ahn’s first major solo exhibition On The Surface Of Images shows his photographic work on the subject of his parents, looking at the theme of mortality. “The empty plot that my parents prepared for their after-life is an image of death that will be fixed eternally in the landscape, as well as, in my mind.” From the artist’s statement.

Photographs by Catherine Symons

Walking around the exhibition, there is the experience of the different elements and processes that Ahn went through in his mind when making this body of work. He comments on the distance and isolation he experienced through showing the fragmenting of his parents with their faces darkened or dismembered in different ways.

On The Surface Of Images runs until 18 November.


Photos Catherine Symons.

The fifth exhibition from The Photocopy Club is on show at The Phoenix Brighton. The Brighton-based company opened in 2011 with the aim to have six bi-monthly open submission exhibitions. The idea behind this organization is to take photographs from the internet and instead put them into the public’s hands.

100 photographers work is displayed on chipboard, including envelopes and notes sent in, which adds a rawness to the project. Bringing together a variety of different images, the aesthetic of the work allows the tactile nature of the photograph to come back into play and for the work to be disseminated to a wider audience.

This show is followed by the exhibition DUO hosted by WEARELUCKY/HOLYGHOST – a show looking at the work of four pairs of young photographers. Details of their next submission exhibition can be found at The Photocopy Club deadline 18 November.


© Michael David Murphy & The Entente

Brighton Photo Fringe designers, Michael David Murphy and The Entente invited members of the public to contribute to their work, whereby they take elements of the unphotographable and combine this with text.

Photo by Catherine Symons

“Opportunities missed.  Simple failures.  Occasions when I wished I’d taken the picture, or not forgotten the camera, or had been brave enough to click the shutter.” Michael David Murphy.

The result is a graphical representation of what would have been and is achieved through combining bold black text with coloured symbols. The text and symbols give the viewer a snippet of the whole image and engaging the viewer’s imagination to allow them to determine the image that they would like to see.

Allow your imagination to run free with this thought-provoking installation.

All shows at The Phoenix Brighton. Open Tues-Sun 11:00-17:00.

Filed under: Photo Stroll, Photographers, Photography Festivals Tagged: Afshin Dehkordi, Catherine Symons, Jinkyun Ahn, Michael David Murphy, On The Surface Of Images, Phoenix Brighton, The Entente, The Photocopy Club, The Unphotographable

Announcing the winners of The 1000 Words Award

1000 Words is proud to announce the results of the inaugural 1000 Words Award for European photographers.

Having attracted considerable interest from a diverse spectrum of committed and passionate photographers, the standard of the open submissions was exceptionally high. And while the deliberations were difficult, the judges selected in their opinion, four photographers who could most benefit from the mentoring and workshop experience and go on to produce interesting and innovative bodies of work from having the time to focus on their practice.

In total, 348 submissions were received from 24 EU member countries.

The winners are: Henrik Malmström (b. 1983, Finland), Lucy Levene (b.1978, United Kingdom), Tereza Zelenkova (b. 1985, Czech Republic) and Virgílio Ferreira (b. 1970, Portugal).

At the core of my practice I seek to destabilise different subjects by reassessing their potential as metaphors for broader questions surrounding photography’s capability for representation and its relationship with the real. My latest work is an installation that comprises of a series of black and white photographs and several objects from my personal collection. This work can be understood as a metaphor for the night as a time associated with both inspiration and imagination, but also melancholia, solitude and isolation. The darkness of the night, like the darkness inside a camera, is a space where images are conjured. Here I am not really interested in the images brought to us by dreams but rather by that point of insomniac vigilance when one can no longer recognise what’s a dream and what’s reality; when familiar objects start to take on shapes of something else, undergoing a sort of metamorphoses. Tereza Zelenkova

A series of un-staged images taken in an Edinburgh nightclub. The title is from the poem by Maya Angelou; Come, And Be My Baby.
Lucy Levene

This series deals with ideas of intangibility related to states of being, by capturing candid moments of anonymous people in the streets of London. In these pictures I attempt to evoke those feelings of vulnerability, bewilderment, impermanence and solitude, which are related to the uncertain times that we live in. They are haunted depictions of our world, and maybe they reflect us.

In these photo-chemical experiments the use of light has a double function: it both records and destroys the information in the picture, denying any secure reality. These manipulations are made on the moment of capture, and all the process of image transformations happens inside the apparatus. Virgílio Ferreira

My work up until now has always been connected to home and identity. I like to challenge myself into finding new perspectives and angles in a search for how things can be represented. Sometimes it can appear as fiction, but still there is always a deeper social aspect to it.
Henrik Malmström  

The 1000 Words Award for European photographers is a major initiative in collaboration with The Other European Travellers, a project co-ordinated by Cobertura Photo and co-organised by Atelier de Visu1000 Words and Festival Voci di Foto in partnership with Magnum Photos. It is part-funded by The Education Audiovisual and Culture Exchange Agency (EACEA) under the auspices of the EU Culture Programme.

Photographers were invited through open submission to apply for an opportunity to realise a new body of work with the supervision of several high-profile photographers and industry experts.
The 1000 Words Award includes:
• £1,000 cash prize
• 18 month mentorship programme
• 3 workshops with Jeffrey Silverthorne, Antoine d’Agata and Patrick Zachmann in London, Marseille and Seville respectively, including financial assistance with accommodation and travel
• Travelling group exhibition through the UK, France, Spain and Italy
• Catalogue and DVD
• Feature in 1000 Words Photography Magazine.
The 1000 Words Award selection panel were:
• Simon Baker, Curator of Photography at Tate
• Brett Rogers, Director of The Photographers’ Gallery, London
• Dewi Lewis, Director at Dewi Lewis Publishing
• Tim Clark and Michael Grieve, Editors at 1000 Words Photography Magazine.

The 1000 Words Award and The Other European Travellers have been supported, in part, by The Education Audiovisual and Culture Exchange Agency (EACEA).

Edward Sanderson, Untitled #8

Edward Sanderson, Untitled #8

Edward Sanderson

Untitled #8,
Norfolk, United Kingdom, 2012
From the Detached Spaces series
Website – EdwardSanderson.co.uk

Edward Sanderson is a documentary-style landscape and portrait photographer. He graduated from Norwich University College of the Arts with a BA Honours in photography and his work is inspired  by the ways humans interact within the landscape. His recent series Detached Spaces highlights derelict structures and selected individuals within a rural landscape, expressing their isolation within the environment. He lives and works in Norwich, United Kingdom.

A tribute to: Lauren E. Simonutti (1968-2012)

Lauren E. Simonutti, 1968, USA, passed away last week due to complications from her illness. On March 28th, 2006 she started hearing voices and was diagnosed with “rapid cycling, mixed state bipolar with schizoaffective disorder”. She felt she was going mad and spent her last years almost in isolation. She turned the camera on herself and the space she was living in. She has left us with an impressive, honest and strong body of work. With her photographs she gave a voice to those that suffer in isolation.
“Over (five) years I have spent alone amidst these 8 rooms, 7 mirrors, 6 clocks, 2 minds and 199 panes of glass. And this is what I saw here. This is what I learned. I figure it could go one of two ways – I will either capture my ascension from madness to as much a level of sanity for which one of my composition could hope, or I will leave a document of it all, in the case that I should lose.” – Lauren E. Simonutti
The following images come from the series The Devil’s Alphabet and 8 Rooms, 7 Mirrors, 6 Clocks, 2 Minds & 199 Panes of Glass.

Website: www.edelmangallery.com & www.lauren-rabbit.blogspot.com

Caleb Cole

Sometimes you see work that you fall in love with, and then you meet the person who created the work and you fall in love with the work a little more, because that person is so great. Such is the case of Caleb Cole and his wonderful series, Other People’s Clothes. I have been a fan of this work since it first knocked me out in the 2009 when juroring the Critical Mass offerings and I featured some of it on LENSCRATCH. Caleb has been hard at work completing the series, and is getting ready to create a book. But I’ll let him tell you about it.

If you would like to help Caleb bring this project into book form, you can donate here.

OTHER PEOPLE’S CLOTHES: At the heart of my work is a fascination with ambiguities and inconsistencies, an interest in how I go about negotiating areas of grey and how others manage to do the same. When I am in public, I watch people going about their daily routines alone; I wonder about the lives they lead, wonder how they experience the world around them and how they make meaning of it. I spend time inventing stories for them: narratives of isolation, of questioning and searching, of desire, and of confusion. The images in Other People’s Clothes are a product of my exploration of private moments of expectation, a visual expression of my experiences stepping into the shoes of the types of people I see on a daily basis. Each photograph in the series is a constructed scene that begins with an outfit or piece of clothing (either bought, found, or borrowed), then a person that I imagine to fill those clothes, and finally a location where that person can play out a silent moment alone. This moment is the time right before something changes, the holding in of a breath and waiting, the preparing of oneself for what is to come. Though I am the physical subject of these images, they are not traditional self-portraits. They are portraits of people I have never met but with whom I feel familiar, as well as documents of the process wherein I try on the transitional moments of others’ lives in order to better understand my own.

In a Lonely Place: Jesse Burke’s Deer Stands

Drive through rural areas of many parts of the country, really keep your eyes peeled—and you just might see them. Some call them a deer stand or a blind, camouflaged structures where men sit in isolation, waiting for the animal, usually a deer, they are hunting.

You have to seek out hunting blinds, because, by design, they’re supposed to remain hidden. Photographer Jesse Burke sought to drag these assemblies back from the nature where hunters hide them. “I was definitely isolating them from their environment, which flips the whole concept of the deer blind, which is to blend in,” Burke says. “I wanted to see man’s feeble attempt at camouflaging themselves into this world.”

Burke traveled to a thousand-acre hunting farm in South Carolina and another hunting ground in Maine for the series. They’re boys clubs, where older generations of men teach their sons and grandsons how to hunt. “For me the stands are about a lot of things, especially the concept of domination and power,” he says. “Part of the hunting process is man’s dominance and power over nature. But they’re also these places of isolation. You go there by yourself. So it touches on all these different topics for me: power, dominance, isolation.”

Burke drove around the massive preserves with a map, trying to locate each one. He shot them around sunset, illuminated only with his hiking headlamp, using a tripod and 2-minute exposures. “What I see with my eyes versus what I see with the headlamp versus what I get on my image in the camera are sometimes three takes on the same scene,” he explains. “There are some really beautiful things that occur–the wind blows and motion occurs so the branches are blurry; the camouflage tarp is waving in the wind. Some things I didn’t expect to happen, but I had to embrace [them].”

While he sought to bring the blinds back from nature and show them from the point of view of the hunted animal, Burke ultimately learned that taking photographs involves embracing the natural situation as much as it does setting the conditions for the shot he wanted. “It’s such a controlling sort of practice,” he says of photography. “I just found I had to let go. Some things are dictated to me, like the full moon. The result is always more beautiful when I give in and let nature take its course.”

Jesse Burke is a photographer based in Rumford, Rhode Island. His monograph, Intertidal, was published by Decode Books in 2008, and his photographs have appeared in publications such as ESPN, Vogue España and W magazine. See more of his work here.

Nate Rawlings is a reporter at TIME. Find him on Twitter at @naterawlings

Kevin Cooley

When I asked my friend J.Wesley Brown to suggest some night photographers for a power point I was creating, he recommended the work of Kevin Cooley. Kevin has a roster of wonderful projects all worth exploring. nachtfluge is featured below, but I also wanted to highlight his fabulous television-based public installation, REMOTE NATION, that is currently on display in New York (viewable from The High Line Park) through October 29th. There is a video of this piece on his site.

Kevin has installed a public art piece at 245 Tenth Ave, a newly completed Manhattan residential condo in Chelsea. On view nightly from the new section of the elevated High Line Park, the piece opens a dialogue about how modern technology simultaneously expands our connection to the world at large and lulls us into a state of entranced isolation, cutting us off from the people immediately around us. Throughout the building’s eleven floors, Cooley has placed 100 reclaimed analog televisions and linked them to a single video feed, creating the illusion that all the residents are home and tuned to the same station. The resulting light is unmistakably electronic, yet it pulses, breathes and changes colors in a manner reminiscent of aurora borealis. Looking from the outside in, the viewer becomes voyeur, witness to the collective solitude of a remote, tv-watching nation.

Inspired by observing his parents watching the same programs, but in separate parts of the house, the pictures flashing across Remote Nation’s TV screens arrive in real-time from Cooley’s father’s own television set in Niwot, Colorado – diverted across the continent with a combination of analog and digital technologies. A single TV set is visible from the High Line, allowing the public to see an abstracted, altered version of the original programming content that more closely resembles a fuzzy over-the-air broadcast from the past than today’s hyper real, crisp digital format.

Remote Nation is viewable every night from the new section of the High Line Park north of West 23rd Street, and on street level on West 24th and 25th street just west of 10th Avenue until September 24th, 2011. This installation was made in cooperation with Prudential Douglas Elliman and through generous assistance from the owners of 245 Tenth Ave.

Statement for nachtfluge: Photography is by nature an exploration of time. The blink of an eye may be frozen by the shutter. Or in the case of this series, many minutes or even hours add up to construct a single image punctuated by the paths of commercial airplanes traversing the night skies. These white streaks, the only aspect of the planes visible in the photographs, are created by the landing and navigation lighting on every plane. Each line represents the amount of time it takes a commercial flight to pass through the frame. The work pays respect to pioneering photographers Edward Muybridge and Etienne-Jules Marey, and their studies of motion, while representing the passage of time in an unfamiliar, challenging, and visually rewarding manner.

In photographing from residential and often marginal areas immediately surrounding large commercial airports, a sense of grace, solitude, and quiet peacefulness is created from the otherwise hectic airport environments. Gone are the long lines, the anxieties, and even the massive planes themselves. The audience is challenged to consider this work as metaphor for our desire for escape and the increasingly interconnected world in which we live. Ultimately, they are asked to reflect on the impact of all of this on the environment.

Christian Bendayán

I’m currently in Iquitos, Peru, in the middle of the Amazon. Getting online is so slow, it seems like the whole city shares just a single dial-up connection to the internet. It reinforces the sense of isolation here, in this city which cannot be reached by car.

I recently discovered a local painter named Christian Bendayán. He paints aspects of daily life and fantasy in Iquitos and the surrounding region wild and bright colors. I was reminded of Marcos Lopez or, as a friend pointed out, Kehinde Wiley.

Orilla by Christian Bendayán

Luz by Christian Bendayán

Pirata (serie Domingo de ramos) by Christian Bendayán