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Graduate Photography Online 2011 - Go to Main Index

Special Curator Selection by Andrew Hunt - Director, Focal Point Gallery

Special Curator Selection by:

Andrew Hunt

Director, Focal Point Gallery

Overview: I tried to imagine what would happen if I 'curated' a small group of artists from Source's bank or archive, and through this process I identified a theme amongst potentially dozens of thematic combinations. This was an enjoyable way in which to recognise common ground between photographers, as well as generational idiosyncrasies in young artists using the photographic medium at this moment in time. For me, the works I have chosen deal with parallel global, political and social realities in a forceful manner. Laurie Campbell and Maria Gruzdeva, for example, document the fate of former Soviet monuments preserved in marginal spaces, and Russia's current border patrol respectively. In turn Solmaz Tahvilzadeh's images record an incongruous Iranian luxury hotel built before the country's revolution, Kavin Supupramai's pictures present his dislocation and cultural isolation as a young Thai artist living in the UK's north east, while Robin Gardiner deals with architecture, urban re-location and through association, the changing nature of art education in London through his semi-abstract imagery. Dislocation and transformation are prevalent throughout these practices.

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Laurie Campbell

University of Ulster -MFA Photography

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Selector's Comment: I found Laurie Campbell's project 'Overshadowed', a series of work documenting Soviet-era monuments rooted in sites that have changed irrevocably over the past twenty-two years, powerfully resonant of Russia's current socio-political reality. The relics in Campbell's subtly schizophrenic 'liminal' landscapes are stranded yet unforgiving and abrasive.

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Maria Gruzdeva

London College of Communication - MA Photography

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Selector's Comment: Maria Gruzdeva has documented The Border Guard Service that patrols the perimeter of Russia; the longest national border in the world. As in Campbell and Tahvilzadeh's works, a transitional threshold, or ambiguous contemporary reality results, amplifying strength, yet also fragility and impermanence.

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Kavin Supupramai

University of Sunderland - MA Photography

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Selector's Comment: Kavin Supupramai's 'identity interiors' speak of the artist's initial displacement, isolation and a subsequent coming to terms with his new environment. This cultural duality and tension connects in a more personal manner with the previous three artists' work I have selected, this time within a contemporary UK context.

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Robin Gardiner

Central Saint Martins -Postgraduate Photography

Robin GardinerRobin GardinerRobin GardinerRobin GardinerRobin Gardiner

Selector's Comment: Continuing the UK context referred to in Supupramai's series, Robin Gardiner has examined a subject very close to home. His photographs of Central St Martins in Shadow Dancing present his art school's old premises in central London before its move to new headquarters in Kings Cross. One could see this action as examining the changing nature of the institution in a way that that frames the artist's education, as well as ideas around transition and impermanence through a form of abstraction grounded in the real.

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Solmaz Tahvilzadeh

Sir John Cass School of Art, Media and Design,
London Metropolitan University - MA Photography

Solmaz TahvilzadehSolmaz TahvilzadehSolmaz TahvilzadehSolmaz TahvilzadehSolmaz Tahvilzadeh

Selector's Comment: Solmaz Tahvilzadeh's pictures of the Kadoosan Grand Hotel in the Iranian seaport of Anzali shows a similar form of displacement as Laurie Campbell's photographs of Soviet-era monuments. Built in the 1950s before the revolution, traces of the Shah of Iran's enterprise are still present in the building's interiors and faded architectural details.

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Christopher Torry

University of Brighton - MA Photography

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Selector's Comment: Christopher Torry is the anomaly in my set of six. His work is informal, incidental, haphazard and contains no strong or identifiable subject matter. Yet somehow this series of photographs still works. There's something naturally disjunctive and just plain wrong about these images compared to anything else in Source's current bank of graduating photographers. For this, it should be celebrated.

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Spacer About the Selector: Spacer Other Selections: Spacer
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Andrew Hunt has been director of Focal Point Gallery in Southend-on-Sea since 2008. Between 2006 and 2008 he was curator of International Project Space, Bournville, where he organised and coordinated around twenty exhibitions, including Steven Claydon 'The Ancient Set'; 'Ian Kiaer and Sara MacKillop' (both 2008); Freee 'How to Make a Difference' and Sue Atkinson 'Greenham Work 1983 to 1986', Terry Atkinson 'Irish Work 1983 to 1986' (all 2007). In 2001 he initiated the imprint Slimvolume, which continues to be published on an annual basis. Hunt was also an editor of Untitled between 2003 and 2008, and as a writer he is a regular contributor to frieze, Art Monthly and a number of other journals. He will be a member of the Turner Prize jury in 2012.

Stefanie Braun »
Senior Curator, The Photographers' Gallery London

John Duncan »
Editor, Source Photographic Review

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Spacer Courses: Spacer Categories: Spacer
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University of Brighton
MA Photography

Central Saint Martins
Postgraduate Photography

De Montfort University
MA Photography

University College Falmouth
MA Photography

University of Lincoln
MA in Digital Imaging and Photography

London College of Communication
MA Photography

University of Sunderland
MA Photography

Sir John Cass School of Art, Media and Design, London Metropolitan University
MA Photography

University of Ulster
MFA Photography

University of Westminster
MA Photographic Studies

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Documentary/Photojournalism

Pages:    1     2   

Landscape

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Portraiture

Pages:    1   

Staged/Constructed

Pages:    1     2     3   

Urban/Suburban Landscape

Pages:    1   

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