As part of the warm-up for Graduate Photography Online 2017 we bring you these special bonus selections - chosen from the work submitted for Graduate Photography Online 2016.
We asked course leaders and directors from the universities who participated in 2016 to choose their three favourite sets of work from the 2016 submissions. The only condition we set was that the work they chose had to be from a course other than their own.
Our next selection is provided by Sarah Bonner, programme leader of the BA (Hons) Photography course at University of Cumbria.
Sarah teaches visual studies and critical theory. Her PhD, awarded by the University of Manchester in 2010, was titled 'Fairy Tales and Feminism in Contemporary Visual Art and Popular Culture'. It examined the subject of gender as a repeated construct in fairy tales that is being subverted by a process of mis-repetition in the contemporary visual arts. Gender, identity, narrative and the visual arts in twentieth and twenty-first century contemporary visual culture are continuing areas of interest and research. Sarah supervises PhD students, and has delivered and had published conference papers nationally and internationally.
Sarah's Selected Photographers:
IADT Dun Laoghaire - BA (Hons) Photography
Selector's Comment: I was drawn to this body of work as although each of the images alone were well composed and considered, it is as a whole that they come together and offer the viewer a sense of space, of quietude. The viewer is invited to pause and reflect, to enjoy the simplicity of the ordinary. Murray captures the play of light in his images to evoke memories of time and place both real and fictional. The images evoke corporeal sensations and meaning is not given to, but elicited from, the viewer.
Leeds College of Art - BA (Hons) Photography
Selector's Comment: The commitment to this project and engagement with the participants is the strength of this work. Meredith has spent time with the subjects and this is conveyed in the openness of the portraits. A cue is taken from the compositions of Walker Evan’s FSA work but here the portraits of the farmers resonate with earth-worn health and contentment. Yet, the tenacity and commitment to agriculture as a way of life and as a set of ideals breathes life into this work. It is with a light touch that Meredith has captured her subjects.
Ulster University Belfast - BA (Hons) Photography
Selector's Comment: This quietly subversive body of work quietly engaged my attention. The still lives are perfectly poised and deceptive drawing the viewer in to admire the beauty in the colour, texture, and detail. The dawning realisation of the actual subject matter may discomfit the viewer as Hamill brings forth a series of inversions: the private made public, the grotesque made beautiful, the taboo made acceptable. The aesthetic and myth of the female body and the euphemisms used in relation to it are made visual here, and Hamill executes her work with aplomb.
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