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 Mark Edwards, course leader for the BA (Hons) Photography course at University of Suffolk Ipswich.
Mark joined the photography staff at Ipswich as a lecturer in September 2011. He studied for his MA in photography at De Montfort University. After graduating in 1997 he continued to lecture in Contextual Studies at the university. Marks' work is represented in major public and private collections including the V&A, The Government Art Collection, The Hyman Collection of British Photography, Norwich Castle Museum & Art Gallery. He has been awarded numerous Arts Council England Awards. In 2007 he was one of 150 artists, architects and designers commissioned to make a word for the V&A's 150th Anniversary album. In addition, he has recently lectured on his work at Tate Britain and the V&A.
Mark's Selected Photographers:
University of the West of England - BA (Hons) Photography
Selector's Comment: The subject matter of 'What Remains' will be familiar to most of us. Fleur May Batt's work explores the familiar sight of road kill but its aesthetic feels rooted in seventeenth century Dutch still life painting. These contemporary vanitas are seemingly removed from their natural context and are photographed simply and sparingly. In so doing they allow the viewer to contemplate mortality whilst also being slightly unnerved by photography's ability to present death and violence as something beautiful and poetic.
Dublin Institute of Technology - BA (Hons) Photography
Selector's Comment: The American psychologist Carl Rogers wrote "The touchstone of validity is my own experience"1. Paulina Golebiewska's work is founded on the work of two American psychologists (Walter Toman and Murry Bowen), a personal family history and her relationship with her sisters. This no doubt enriches the work, however, what I found really compelling about her work was their cinematographic quality. Each picture is like a still from a Tarkovsky film and is sensitively observed. Seemingly fused with poignancy and reflection the personal narrative running through the work remains just beneath the surface and out of reach. Mysterious, disquieting and beautiful.
Falmouth University - BA (Hons) Photography
Selector's Comment: Emma Rayner's images are both strange and compelling and on first glance reminded me of the work of Mark Dorf. Combining the sublime and the everyday, the natural and the man-made, each image encourages us to reconsider the horizon, a trope explored throughout the history of Western landscape art. If, as Didier Maleuvre argues, the horizon is a philosophical yearning for the infinite then the inclusion of contemporary buildings rooftops introduces a formal flatness that at first disorientates. However, the more time you spend with each image the juxtapositions of the banal with the majestic become spaces where "man touches nature with finitude"2, and "with the taint of mortality"3.
- ROGERS, Carl, R. On Becoming a Person. A Therapist's View of Psychotherapy. London, Constable, 1967, p23.
- MALEUVRE. Didier. The Horizon. University of California Press, London, 2011, 297.
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