Ian Atkinson, UK
The Reflective Moment
This work represents a reflective moment; how we are all interrelated with our past, present and future selves and how our lives revolve around these factors. A significant element of this work is the poster/TV/Polaroid within the frame, which reflects the ability of photography to capture a real moment in time and suspend it, making it the focus of our memories. Within this work the poster/TV screen/Polaroid stands as an iconic representation of the past, alongside the other apparently more tangible figures who have in truth, also been torn from the continuum of time and photographed. The viewer is encouraged to consider the multiplicity of other moments between those judged as significant that have not been recorded and question the nature of our attachment to the still photograph.
Ian Atkinson Photographer Northumbrian born photographer Ian Atkinson has photographed extensively around the world primarily within the advertising market. His personal work is constantly analysing the portrait, our relationship to the family and our continuing fascination with the photographic image. “Whenever we look at a photographic image, as well as being confronted with the artist’s ideas and perceptions we also begin to read the work in a similar way we would a text. We analyse the photo, as only we can from the perspective of the spectator, laying upon the image our own social and political ideals as well as our memories and sensibilities. These are some of the ideas that I have attempted to convey and develop within my current work. The series of images which have been exhibited in the last year ask questions of the viewer and question our ability to look at an image beyond its capacity for simple mimesis. The work asks to be interpreted; what are the moments that precede it and what are those yet to come, for these are the moments that capture our attention”. Ian Atkinson 2010 Exhibitions 2010 Taylor Wessing Photographic Portrait Prize 2010, National Portrait Gallery, London 2010 Uncertain States – A Year On, East Gallery London 2010 The Fine Line between Heaven and Here, East Gallery London 2010 Pioneers MA Show, Sir John Cass School of Art and Design, London 2010 MA Interim Show … Unit 2 Gallery Whitechapel. London 2009 Interactions, Jane Smith Studio, Leigh on Sea 2001 Association of Photographers Assistant Awards, AOP Gallery, London 2000 PIEA PMA International Student Awards, Las Vegas Education 2009-2010 London Metropolitan University MA (Distinction) Photography 1999-2000 Salisbury College of Art & Design BA (Hons) Photography: Upper Second PQE: Distinction 1998-1999 Rochester Institute of Technology, New York BA Photography 1997-1999 Salisbury College of Art and Design HND, Photo media: Distinction 1996-1997 Bournemouth Institute National Diploma, Photography: Distinction Diploma, Advanced large format photography, Sinar Switzerland. Associations Association of Photographers
Alexandra Wolkowicz, UK
This series of photographs was taken while my father was moving out of his flat in Weilbergstr. 1 where I grew up. Whilst helping to pack I looked again at old photographs and began to map the past with the present. I became the viewer and the viewed.
Alexandra Wolkowicz is a Polish/German photographer and artist resident in Liverpool/UK and Bonn/Germany. Her work explores themes about our relationship with the world and how we share it with each other and other living things. Essentially tactile and documentary, her work springs from her experience with photography, performance, theatre and the creation of unique representations of places, things and histories. She works with still and moving imagery often with the addition of sound. Her intervention with things and situations found is to alter, adjust and reconstruct the familiar in order to create moving, thought-provoking and poetic representations. Her working practice is often collaborative and multidisciplinary choosing to select media appropriate to the aesthetics and content of a particular piece. She has travelled widely and has worked with artists and in residencies in Europe, North America and Asia.
Geir Moseid, Norway
The series Plucked is an investigation into the duality of the home, urban alienation, social segregation, intergration and human relationships. This duality of the home extends further, adding layers to the series, incorporating the ethics of both social documentary and staged photography, as well as the possible cognitive dissonant experience of the viewer. This dissonance was built around notions of ambiguity and the uncanny. In the home emotions and narratives are in constant transience. Sometimes a safe space where one can be private and intimate, with a sentiment of security that is built around the fact that we can seclude ourselves, distancing oneself from the interference and surveillance of others. But it is with this point that its most problematic duality is made evident. The home is a harbourer of some of humanities gravest crimes. These crimes occur behind closed doors, including physical, sexual and psychological abuse. Moseid_Geir_CV.
Born in Lithuania and living in Luxembourg. I am mainly interested in conceptual portraiture and bodyscape photography.
Miranda Lopatkin, UK
Series 1, The Family Series
If in photographs we visit the past then I try not to allow our visit to be so straightforward. In series 1, The Family, the settings at times feel more real than the often reflected or hazy figures; this puts real emphasis on the lost memories of these often intimate moments. The figures that pass through these settings unearth some of the hidden memories they conceal by interacting with the interiors and exteriors of the present, playing out the role of time travellers and becoming part of an atmosphere that is some instances can seem unfamiliar. The images in series 2 are from a new body of work inspired by the slide archive of the National Portrait Gallery in London, which I am lucky enough to now own. As a staff member teaching art workshops at the National Portrait Gallery, I saw that the slides were to be crushed, deemed old technology. Feeling that I couldn’t let them pass, I asked to keep the collection and so it was passed on to me. The theme of ‘Transience’ is integral to all my work, I am driven by the small stories that are told, verbally preserved and distorted or lost when people pass. I work with 35ml film, medium format, slide film and digital camera’s occasionally, I like to allow the time it takes to make and develop the images part of the integral process of time passing.
Miranda Lopatkin is a Fine Art MA graduate from Central Saint Martin’s College of Art, having previously studied Theatre and Performance at The University of Warwick. Miranda has exhibitions coming up in June 2011 at the National Portrait Gallery, London, as well as the curated art fair. ‘Artsmart’ at Chelsea college of Art in July 2011 and an exhibition in Copenhagen at Black Pop gallery in autumn 2011. Miranda has previously exhibited across the UK, Berlin and Athens. Miranda’s work is owned by the Ben Uri Public Gallery and has had imagery featured in contemporary magazine amongst other publications.
Vincent Goutal et Olivia Leriche, France
Transitions Photographic Series: Against a backdrop of western urban life, the Transitions series gives us a view of consumer society archetypes in a style reminiscent of the sublimated world of advertising iconography. From these perfectly controlled stage settings, to the eagerly awaited scenario, a flaw becomes gradually apparent: each character seems lost in an absent moment, separating the time of the photograph from its essence: movement, action. The spectator becomes a witness to a moment of grace, the resistance of the soul in the face of a society devoted to the worship of consumerism. Between dream and reality, each image reveals a hollow world in absentia, where mystery reigns as the main character.
Vincent Goutal and Olivia Leriche have worked together since 2008. With fully staged scenes, their images reveal the dark side and reverie of an intimate world completely saturated by the codes and archetypes of modernity. Vincent and Olivia live in Paris. Their cumulative age is 73 years. After studying at the Ecole Normale Supérieur de la Rue d’Ulm, Vincent trained at Harvard’s Department of Visual Arts under the direction of Chris Killip. Olivia Leriche studied literature at the Sorbonne and the School of Visual Arts in the Rue de Seine. Prizes: • Shortlisted at the Sony World Photography Awards 2011 in the Still Life category on the professional side for the series Transitions • Laureates of PHPA 2011 « Photo d’Hôtel Photo d’Auteur » Worshop: Ecole Supérieure d’Art de Brest (France): “Staged photography” 4th-8th of April 2011 Publications (sélection) June 2011 Twill, #14 May 2011 Fill In, #2 May 2011 Rouge Déclic, Hypertension #3 May 2011 Vis à Vis, L’ennui January 2011 Regards, Ailleurs #7 Summer 2010 Private, Présences, #49 June 2010 Photos Nouvelles, #63
Estetica Unisex Colectivo, (Lorena Estada Quiroga / Futuro Moncada Forero), Mexico
WE AS A COLLECTIVE (AESTHETIC UNISEX) Lorena Estrada Quiroga / Futuro Moncada Forero We are a couple formed by a Mexican and a Colombian, working together
because we question common themes and have same worries. Photography is the means by which we record changes in natural spaces and in our daily lives. We discuss the relationships between nature and city, construction and destruction, men and women. Our intention is to show the progressive changes that make up a process, whether it is the disappearance of a natural environment against urban sprawl or changes that happen in life. Our work involves taking successive pictures of a changing space during different intervals of the same process, thus integrating the phases of transformation of a city, a natural landscape or the circumstances that gave birth to our son. The work we are developing is the documentation of the events that occurred during and after Hurricane Alex in Monterrey, Mexico, which caused a major flood that swept all of the infrastructure built on the Santa Catarina river’s bed: sport and entertainment installations, as well as bridges and protective ramps. One of these photographic works, captures the process of a plant growing on a crack of our back patio’s wall, after water had filtered due to the extreme humidity of the rains. These plants known as “weeds”, teach us how life arises spontaneously even in the most adverse conditions in places built by humans. Another project underway is the photographic documentation of our relationship as a couple. The images are only taken in the apartment we live in downtown, and tell our privacy from the moment we decide to live together.
STEP RITUAL STATEMENT – The process of pregnancy starts unaware of us, except for some of the usual life changes. We gradually get used to the growing belly and the large breasts as well as the increasing difficulty when walking, sleeping or using the toilet. In a way it leads us to feel that pregnancy has no end after nine months. When birth comes, as a transformative event, we think that everything will return to normal, however, nothing will be the same; now are parents and have a child, a son.
Odette England, US
Untitled 1, from the series As Above So Below
Series title if part of a series (Optional):
Statement, something about the work, or anything you would like the judges to take into consideration. (Optional): ABOUT THE SERIES ‘SELF DIAGNOSIS’: Self Diagnosis is a part-photographic, part-psychological study of how Odette England sees herself versus how others see her. She exposes personal family snapshots on the back of each of the ten official inkblots from the Rorschach inkblot test, to create a possibility space for evaluating who she is based on carefully selected childhood events. In doing so, she scrutinizes the transitions and experiences that contribute to her identity. But who is Odette England really? This series questions the validity and reliability of first impressions; the consequences of opening herself up to photographic interpretation (and, possibly, clinical evaluation); the exposure of items typically harbored or guarded; and the construction of visual truth versus fiction in the family album. The images are open to multiple analyses, some of which will be true or false, meaningful or meaningless. At best, they may reveal a little of the subconscious self and the secret world of England’s innermost thoughts. ABOUT THE SERIES ‘AS ABOVE SO BELOW’: ‘As above so below’ is a phrase that indigenous cultures live by: a belief that heaven and earth are the foundation of all creatures, including themselves. Land and sky are more than geographical icons; they are mirrors in which they see themselves reflected. This series documents the desert landscape of Southern Australia – a traditional home of indigenous peoples – from directly above and below a single standing point, brought together as a double exposure. Odette England combines what otherwise exists separately, to explore the significance of primal middle ground where humankind resides. The work was made during an Artist Research Residency: England was appointed a Visiting Fellow by the University of New South Wales, to live at the Arid Zone Research Station of the Imaging the Land Research Institute (ILIRI) from May-June 2009. ILIRI is Australia’s only research institute concerned with artistic interpretation of the science of land.
Biography (Optional): England’s photographs have been shown in exhibitions across Europe, the USA and Australia including solo exhibitions at Light House, Wolverhampton, UK; Three White Walls Gallery, Birmingham, UK; and Durham Art Gallery, Durham, UK; and in group exhibitions at KLOMPCHING GALLERY, New York, NY; Photofusion, London UK; the Center for Fine Art Photography, Fort Collins, CO; Host Gallery, London, UK: and the Newspace Center for Photography, Portland, OR. She is a two-time UK winner of the Magenta Foundation Flash Forward Emerging Photographers competition and has achieved wins and honorary mentions in the Px3 De La Photographie Paris competition; the London International Creative Competition; and the International Photography Awards. Most recently, she is the recipient of the HotShoe Photofusion Award 2010. England lives in Rhode Island and is represented in the US (east coast) by KLOMPCHING GALLERY. She is a MFA candidate at the prestigious Rhode Island School of Design, where she also teaches. O-England-CV
Camilla Broadbent, UK
Camilla Broadbent’s compelling images combine baroque colours, rich textures, and painterly light – uncovering hidden secrets, as if creating a doorway between reality and illusion. ‘becoming’ explores aging, and the complex mother/daughter relationship. As mothers grow older, roles reverse. And mothers act as a mirror to a daughter’s possible future selves. Photographs freeze time while imperceptibly we age. As we each get older, we inhabit ourselves more; our lives and natures written on our faces and our bodies. Inside we remain forever young. A myriad of fabulous characters people the details within these diptyches. As the face is an external manifestation of the soul, so the home manifests the personality. We each create our own reality. These intense and moving portraits are rich with potential narratives. Camilla-Broadbent-Biography
Ana Galan, Spain
Viv(r)e la vie!
Viv(r)e la vie!Viv(r)e la vie! is a photography series “in process”, consisting of photographs of couples in profile with a landscape of a countryside in the background, snapshots which evoke the Diptych of the Duchess and Duke of Urbino by Piero Della Francesca. The concept depicts the two contrary principles, masculine and feminine, which are found in an embrace as a symbol of the partnership, the unit and belonging, the union of two planets which find themselves in the same line of gravitation. Home. In this movement, we discover the meaning of life. As well in its coniferous landscapes, the series recreates the representation of the power of vital force, of immortality.Viv(r)e la vie! consists of 15 photographs, of 15 couples which meet in order to dance every Sunday in a community center. This series pays homage to those people who continue to live “in the moment”.I began the series Viv(r)e la Vie! in Guadalajara, Spain, with the idea of putting together a set of series of 15 couples in different cities around the world, between 1 and 5 series in each continent and subcontinent. Couples of a certain age, people barely seen socially, but who have not stopped living life fully and whose close relation is photographed in the Sunday outing dances of the community centers of their area.The objective of this project would be to form an extensive visual transcultural inventory, almost as small histories of social and anthropological life of some people that are reaching a mature age, but remain active. The photographs give visibility to people which, for a certain time, have lacked such visibility. This series, at the same time, documents the cultural diversity that exists between different cities and countries. All of this is seen through the behaviors and gestures of the dancing couples, in the relationships between man and woman and in the roles assumed by each of them, they also narrate each selected territory. These are not only portraits of marriages, or of people with family ties or friendship, but in addition, they teach us that the bonding of the encounter simply grant them to be “friends of dance”, it is home to them.I believe that new series Viv(r)e la Vie!, in different towns, could be very interesting from a documentary point of view, socially and anthropologically, as a source of the experienced history of the community, the collective, distinguishing memory and contemporary reality. The second series of “Viv(r)e la Vie!” will be developed in the American city of Philadelphia from June 7 to 27, 2011 thanks to an artist residency I have been granted by the Philadelphia Arts Hotel.Technique C-Print. 50×45 cm. Edition of 3 and 2 P/A
Karen Miranda, US
Other Stories/ Historias Bravas According to my research, the act of remembering is an unstable and profoundly unreliable process. The more we “remember” an event the more we are likely to change it with time. Departing from this thought, I began questioning the role of photography and its relationship to memory, specifically what it intends to preserve. Since 2008, I have been working on Other Stories/Historias Bravas, a project where I revisit events from my youth that were never recorded. In this project, I re-stage scenarios taken from my memory and with the collaboration of my immediate family I recreate these memories. I chose to recreate moments that helped shaped my interpretation of the world and my identity. These memories are either connected to local folklore, or connected to my own family’s tradition. This is my idea of Transience; an evolution of the self through observing my memories, upbringing and where they have taken me, this is how an image such as Matilde, cleaning the body (file 04) is born. My intention is to capture these events with the utmost accuracy. Although the 01,02,03 are staged, this project is not meant to convey a romanticized vision of my experiences; rather they are meant to provide a means for reflection, a search for truthfulness and a profound understanding of transformation.
Rebecca Reeve, US
En Vedado 2007 – 2009 Family living quarters in a house in Havana. The room contains three beds, a television and a collection of objects amassed over a decade. With little natural light the place remains in a perpetual state of dusk. A hotch-potch of makeshift construction, I was struck by the fallen nature of the place. The series addresses our fascination with ruins and remains. It considers the dichotomy of the static and transitory in a culture, shifting value systems, identity and the process of history revealed in terms of political backdrop. ‘Progress is not simply an upward course. The world changes, things decay, we decay and this reminds us of the mortality of all things.’ Vicky Goldberg
Rebecca Reeve is a British artist currently residing in Brooklyn, New York. She received an MFA in Photography from the University of New South Wales, Australia. Shooting with 35mm and medium format, Rebecca has been photographing in Cuba since 2004, drawn to the island’s steady time and its enduring inhabitants. Rebecca is currently developing various new projects in New York City. Her work has been exhibited at venues that include the University of the Arts (Philadelphia, PA), Phillips de Pury & Company (NYC), Sandbox (NYC), Hope for Vision (NYC), Photo District Gallery (NYC), Art International (Sydney, Australia), Bath Spa University (UK), Covivant Gallery (Tampa, FL) and New General Catalog (NYC). Her images have been cited in the Photo Review and Antenna Magazine. Rebecca-Reeve-Biography