Tabitha Graves

Course

BA (Hons) Photography

 A Place Like Home

‘A Place Like Home’ is a selection of photographs captured to resemble memories of childhood like phantoms. What we remember as children and the way it made us feel. A sense of stability and peace for the soul and the mind. The sunrise is symbolic to a new day, a new beginning, a second chance. This location is not familiar to these memories, but it can relate to others deep in heart. It is the sea, the air and the smells that show the importance. Captivating way to show how nature connects to a fragment of memory. The drawings are to balance the immortality and delicacy of these landscapes. A juxtaposition of two different creations from digital art.

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India Reilly

Course

BA (Hons) Photography

The Blonde Moment

Recontextualising ideas of feminism has been a vital part of the 4th wave of the movement, including reappropriating derogatory words and behaviours used against women. The ‘bimbo’ is a common trope in pop culture and the media and is re-emerging as a method of female empowerment. The Blonde Moment seeks to parody the negative connotations surrounding this concept and reinforce that women are not one-dimensional beings and can be multifaceted by holding intelligence and depth in a variety of interests, and not just superficial ones. ‘Bimbofication’ initially became a meme in popular internet culture to show women as either being intellectuals or sexual beings. However, this meme has become satirised by feminists and subsequently transformed into a genuine agenda to empower women and cause progression in modern intersectional feminism.

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Jade Gair

Course

BA (Hons) Photography

The Spectre of Joan Jurdie

Haunting tales, myths, legends, folklore, the supernatural and spectral being unseen by the human eye, yet visible by a camera’s eye.

Witches the earthly beings but with non early powers so to speak. Their supernatural presence within nature is on to be viewed in a narrative sense. The events that happened to Joan Jurdie is a story to represent in a light of good and evil. Done by documenting the location of the events through a perspective of context. Through image taking Jade puts the story to the surface, a story that was once forgotten and left in the past is now brought forward into the present ready to be presented in the future.

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Kate Newman

Course

BA (Hons) Photography

The Abject Woman

Gaining inspiration from the 1970’s Performance Art and Feminist Art Movement, this piece challenges the traditional Western male gaze through the concept of the abject; the feeling of revulsion when the boundaries we use to categorise the world are transgressed, (Julia Kristeva, The Powers of Horror, 1980).

Thus when women are anything but the patriarchal ideal they are seen as monstrous or abject. Assertiveness in a woman is masculine. Passion is hysteria.

Here, the work transgresses by showing the inner and outer as one, challenging the boundaries of convention. Normal bodily functions usually hidden are instead put on show and performed as acts of rebellion- shock is used as a method to confront. Fundamental conditions of the feminine are explored through self-representation and consequently cross the boundary of standard expectation.

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Sidney Bendall

Course

BA (Hons) Photography

Redacted

During the 1970s, the crimes of Peter Sutcliffe, famously dubbed The Yorkshire Ripper, tore through Britain, terrifying women all over the country.

The downfalls of the investigation by the South Yorkshire Police were devastating, allowing Sutcliffe to murder a further seven women from the first time they questioned him. This series is a collation of evidence and imagery, used to present the facts and the stories behind the Yorkshire Ripper case and to honour the women forever remembered as “his victims”.

‘Redacted’ serves as a reminder that we, as a society have not progressed in terms of the perpetuation of rape culture, police incompetence and violence against women in the past 40 years.

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Tim Lee

Course

BA (Hons) Photography

Organised Time 

The photographer of Time, Tim, demonstrates from a fixed point of reference the technological progression of photography within the ideas of documenting the movements synonymous with Nature and Space in accordance with increments of time. By blending techniques of the Avante-Garde and Contemporary practise Tim poses the solidarity and petrification of the Long Exposure against the Glass pane like fragility of the ChronoPhotographic image stack, by superimposing 32,400 images to obtain the ‘View’ of Past, Present and Future within one singularity laying each image upon the other like the pages of a book.

 

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