Updated: Jan 10, 2021
During Lockdown, HelloArt launched the online public art exhibitions to support student groups and new generation artists whose graduation exhibitions were cancelled due to the impact of the pandemic. We were pleasantly surprised to receive a lot of submissions~
Let's have a look at the Photography submissions in this article.
The Minimal Gesture
Josie Hunt is a photographer whose practice focuses on human interaction and communication. Her work explores instances of the everyday through the process of re-contextualisation. Hunt's practice emphasises the often-undervalued qualities of the mundane, proving that what is beyond our frame of awareness and appreciation is just as important as what is within it.
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The Minimal Gesture here looks into how everyday gestures are used as powerful tools of communication. In addition to this, The Minimal Gesture also investigates how gestures can be used to explore a relationship, in this case between her and her partner and her and her mother. The artworks exploring her relationship with her partner reflect wider social, political and cultural contexts surrounding race. Whereas the intimate images she captured of her and her mother explore the journey of their relationship and the strength of the bond that they share. These photos were taken when COVID-19 struck and the lockdown was implemented, meaning Hunt had to move back home and adapt her practice accordingly. Many gestures are spontaneous movements that are done without thought, we tend not to really acknowledge the significance of them. This work draws attention to their importance in building and demonstrating relationships as well as in everyday communication.
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Emma's work is driven by daily documentation and observation of the world around her, within exists a visual diary that she creates to record everyday thoughts, feelings and memories. Distortion features heavily in her practice to represent the more ominous experience of daily emotions. She work with autobiographical themes; memory and diary style documentation are key elements of her practice.
Emma locates her work within a photographic practice. Destructive ‘pre’ and ‘post’ distortive techniques such as long or double exposure; solarisation and chemical manipulation (chromo sabbatier) allow her to symbolise the feelings of anxiety by distorting the original content of the image. She uses ‘snapshot’ of everyday photography to document what is happening around with priority on the image’s content over perfect composition or focus. This quick method lends itself to the everyday subject matter as the images are honest and not orchestrated. The photographic outcomes then evolve by turning the images into ‘artefacts’, combining the work with ceramic materials. She expose the photographs onto handmade ceramic tiles, using liquid light (a liquid photographic emulsion). This method of display allows Emma to showcase her work as historical objects, as the liquid light and ceramic glaze react with the chemical developer to create nostalgic, sepia tones to the imagery.
Ward’s project Intangible Knots focuses on hairs hidden qualities, by incorporating cameraless and digital photographic techniques, in order to initiate a relationship with hair which never existed whilst she was maturing.
The objectification of hair through subtraction and its physical manipulation allows for the creation of unusual and intriguing shapes. Ward enjoys being open about her relationship with hair and while challenging immediate perceptions her work persuades the viewer to engage with this subject and delve deeper through observative methods.
Ward’s work is a personal journey and subject of her life of how relationship with hair was never fully maintained. Moreover, Intangible Knots investigates the social and cultural perception of hair perceived and forces us to consider why our relationship with hair is so important.
IG：@hannah wilson art Web：https://hannahwilsonart.co.uk/
This is the ‘View’ series where Hannah sees physical spaces as openings for mental spaces and engage with visual art in an attempt to facilitate ineffable experiences for individual viewers. These are experiences inexpressible by words. She suggests that looking out into infinite landscapes can be grounding, offering freedom for the mind and perspective within our finite lives. Windows are used as framing devices through which to view landscapes; viewers are both looking out of a window and looking at art. In alignment with Eastern philosophy, the empty space in her abstract work is viewed not as a sign that something is lacking but as a space for potential. Squinting to see, viewers may become aware of both how and what they are seeing.
"I speak the language of color and light."