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.
The first of our selections is provided by Clare Gallagher, course director for the BA (Hons) Photography course and lecturer on the MFA Photography course at Ulster University.
Clare has studied in London, Canterbury, Toulouse and Belfast, earning an MFA with distinction, and is a fellow of the HEA. Her practice focuses on the everyday experience of home and mothering and has been exhibited internationally. She is currently working on a PhD exploring photographic strategies for representing the 'second shift' - the unpaid housework and care undertaken by working mothers - and revealing it as complex and valuable.
Clare's Selected Photographers:
Edinburgh College of Art - BA (Hons) Photography
Selector's Comment: I enjoyed the sense of ongoingness in Lottie's work – it's good to see a project that is at once intimate and expansive. The attention to detail is striking and the work comes across as that made by a careful observer for whom nothing encountered is too slight. It is a very poetic reflection on noticing, on time passing, on things changing and slipping away.
University of Portsmouth - BA (Hons) Photography
Selector's Comment: This is a playful response to the ludicrous cliché of adverts for women's sanitary products. The mixture of appropriated images and suggestive constructed shots reflects on the way society skirts around the taboo of menstruation. The bizarre ecstasy on the actors' faces at being on their period is highlighted by the close cropping and the screen artefacts heighten the sense of unreality.
University of Brighton - BA (Hons) Photography
Selector's Comment: I was struck by the noirish atmosphere of these images and felt they successfully conveyed the contradictions at the heart of the uncanny or unhomely. The scenes and objects are vaguely recognisable but the familiarity is disturbed by strange scale, movement, blur or proximity. There is a dreamlike quality to the images in the sense that the places and objects seem to take on characteristics at once quite normal and terrifying at the same time.
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