Category Archives: Submission

On the Fringe – Photographer Andrew Mellor

 

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Andrew Mellor is a photographer based in Blackpool in the North West of England. His photography explores natural and man-made environments; and the interaction between the two with concerns over how we use the landscape and the social and political issues surrounding it. His work explores change and human impact.

“I am drawn to ordinary places, seeking to find interest in everyday spaces. My work is spontaneous and involves a process of walking and investigation and is a significant factor in the creation of the work.”

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Artist Statement – On the Fringe

Prior to the arrival of the tourist industry, the population of Benidorm numbered only 3,000 and its main economy was fishing. In the early 1950s the industry started declining. Faced with an economic struggle the town council approved the ‘Plan General de Ordinacion’, employing all the town’s resources into tourism. A mass building programme was orchestrated to accommodate for the influx of visitors.

Tourism was the path to development yet it also contains the danger that development will destroy the very thing people have come to enjoy. With tourism, it is not clear whether rapid development is in the locals’ economic interest.

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The proliferation of all-inclusive hotels has been the subject of much debate over the years with local businesses struggling to keep afloat. The infamous catchphrase if you want to get pissed show us your wrist certainly rings true, with the reasoning that if they have already paid why go out.

“The fundamental characteristic of tourist activity is to look upon particular objects or landscapes which are different from the tourist’s everyday experiences” (Gaffey 2004).

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This series represents the possible effect the all-inclusive package holiday can have on a place whose reliance is almost solely on tourism. In reality, the social relations surrounding tourism are complex and must be negotiated, contested, and resisted.

“Our experience of any landscape through the senses is inseparable from the social and psychological context of the experience” (Sopher 1979)

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To see more of Andy Mellor’s work, or connect to him via social media, check out his website and links below:

Website: http://www.andrewmellorphotography.com
Instagram: https://instagram.com/andymellorphoto/
Twitter: https://twitter.com/Andrew_J_Mellor

Photographer Patrick Collier

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Patrick Collier has been making art for about 35 years, and has numerous exhibits and shows to his credit. He also writes poetry, and is a contributor to Oregon Arts Watch orartswatch.org. From 1998-2000, he and his wife ran the Chicago gallery bona fide. The gallery received critical acclaim with reviews in Art in America, Frieze and the now defunct Midwest art magazine New Art Examiner.

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Collier says of himself: “I’m one of those photographer types who carry the conceit of not really being a photographer. Rather, I prefer to think of myself as an artist who is using a camera for the time being. Buried deep within my tumblr page are examples of how I exhibit my photographs. In short, I combine the photos you typically see on that page with photos I take of snippets of text I am reading. (The spacing on the page sometimes creates little framed segments of 2 to 4 lines of text, which I shoot and crop. They are called “Gists” on my website.) I will also sometimes use drawings and sculpture in the same installation. I’d like to think of these combinations as visual poems.”

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“Photos of the things I see on the street and placed in stand-alone projects are divided into two categories. ‘Deadpan’ are the rather symmetrical, extremely formal, crowd-pleasing photos. The others I call Sidetracked, as the scenes catch my eye when shooting – and some time afterwards they make it into this category.”

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Many of Collier’s photographic works explore the interplay of textures, patterns and forms, as well as color. The incidental markings on pavement or walls, and discovered visual ironies are also among his strengths.

To see more examples of Patrick Collier’s work, visit his website www.patrickcollier.com , his tumblr site http://twentymileperimeter.tumblr.com/or on Instagram @ptcpatrick

The Uncommonly Common Photos of Emmanuel Monzon

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Emmanuel Monzon is a french photographer and visual artist based in Seattle, WA. He graduated from the Academy of Beaux-Arts in Paris, France with honors. His work has been featured throughout the US, Europe and Asia. 

The work of Emmanuel Monzon focuses primarily on the idea of urban sprawl and the urban expansion of its periphery. Monzon photographs urban banality as though it were a Romantic painting, trying only to be “stronger than this big nothing” in controlling the space by framing the subject. Monzon’s aesthetic of the banal obeys its own rules: a ban on living objects, a precise geometrical organization, and the revelation of a specific physical and mental landscape blurring the lines between city and suburb, between suburb and countryside, a process that results in an independent identity.


Monzon’s images are often shot at a low perspective right off the ground. This approach gives the viewer a fresh take on how we observe the world around us; buildings, cars, even the sidewalk that is flatly underfoot takes on depth and scale not seen otherwise. This is one of the strengths in Monzon’s work that gives a new perspective at what we often overlook.

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In no particular order, Monzon says this about his work and his creative process:

  • My plastic artist and painter background influences my photographic work.
  • I am a photographer who paints or a painter who uses photography – I am caught in the middle, in an “in between state”.
  • This in-between state can be found also in my landscapes or urban sprawl series. I photography places of transition, borders, passages from one world to another, am I leaving a city or entering a new place?
  • My landscape pictures always feature human traces (billboards, traffic lights, poles, roads), a reminder of urbanity built by human beings but no human beings are ever shown in my pictures.
  • I always admired painters such as Giorgio De Chirico, and Edward Hopper.
  • Living in the US, I have the impression to live in the painting, in the picture, being able to move around within this frame, to be part of this American mythology which keeps reinventing itself.
  • I choose square frames because it focuses on the subject and allows me to distance myself from the photography
  • I like repetitions, I like series, and I like driving around.

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For more information about Emmanuel Monzon, or to see more of his signature work, visit his blog or portfolio.

The Landscapes of photographer Mandy Williams

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Mandy Williams is a visual artist working primarily in photography and video. Her work covers range of subjects, but centers around the theme of the social dynamics arising from contemporary culture – particularly how personal identity is affected by environment and how our social and affective lives interconnect. This interest in the psychology of place has been a catalyst for both autobiographical and voyeuristic projects, documentary approaches to more conceptual ones. Much of her photographic and video works highlight the domestic environment, although some refer more broadly to place and sites in transition.

Her recent series share an underlying narrative about human interaction or presence. Some of these include Unseen Landscapes (2012-15), which use Google Street View as a starting point to create somewhere otherworldly, and Riverbed Stories (2012-15), photography and video documenting polluted river beds in South East London.

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Both ‘Unseen Landscapes’ and ‘Riverbed Stories’ stem from the idea of contemporary landscape. The detachment is undeniable in how people interact with the landscape, whether it is by remote observation, or utter disregard. A roadside natural setting is disrupted by castoff personal items such as mattresses, chairs, gloves, floating shoes and discarded baby carriages. The images point to the pollution of the natural setting, and also to a sense of detachment to nature by the people who thoughtlessly threw these items away. Williams depicts these items in the water and weeds with a sensibility toward the loss of both the intimate history of the items, as well as the lost natural beauty of the English landscape she documents.

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In the same sense, the detachment from nature in ‘Unseen Landscapes’ starts right at the moment the images are made. These landscape images captured by Google Street view are made without bias, without thoughtful intent. The images are made by an unblinking eye traveling the land. Williams presents her versions of these images as soft, monochromatic toned views. She has used images from this archive to present scenes that she herself has never seen in person, nor visited. Visually, the presentation of the images in a circular format references (intentionally or not) the early photographic prints made by the Kodak No. 1 camera. This makes for an interesting visual homage to one of the earliest commercial photo products (You press the button, and we do the rest) while appropriating images from one of the largest publicly available digital image databases in the world. So much of the world we experience online is via digital captures made half a world away; one has to wonder if ‘Unseen Landscapes’ is a commentary on the subject, or a reflection of it. Either way, Williams has created beautifully crafted portraits of the land which also prompt the viewer to think about their own interaction and connection with the world around them. 

To view the projects, or see Mandy Williams’ work, click here. Images shown are © Mandy Williams.


Mandy Williams is a photographer living in London, UK. She previously lived in Vancouver, Canada, but has since returned to her home country of England in 2002 and has been contributing to different exhibitions and publications in the UK, and internationally in exhibits and in publications.

Website: www.mandywilliams.com
Twitter: @artphotofilm

Photographer Nick Treviss

Otherness

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Recent project submission from UK photographer Nick Treviss – he describes ‘Otherness’ as “focusing on notions of identity, and this body of work explores the relationship between photographer and subject, and the affect and influence each has on a true representation of the individual.”

 

Check out Nick Treviss’ website (http://www.nicktreviss.com/), Instagram @nick_treviss, or his Tumblr here.

Photographer Amanda Knigga

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Photographer Amanda Knigga has embarked on a project titled ‘Simply Living‘. Knigga’s project statement covers the scope and basis for the project as such:

With minimal experience, my family made the decision to start over by living a simpler life. They moved from a new house in a subdivision to a doublewide trailer on a plot of land in the rolling hills of southern Indiana. Here, they intend to live a more sustainable lifestyle and gradually develop a farm to provide for themselves.

Separated from this process (as I am in school), I document this intimate transition as an outside observer. It is through my family’s actions that I imagine or facilitate my own ambitions to live closer to the land, and thus become closer to myself in the pursuit of discovering where it is I belong in society.

Simply Living is a combination of traditional and alternative photographic processes, as well as sculptural objects, interweaving the people, land, and resources into an enduring and evolving story. The images are taken with film to create tangible and engaged experiences. As my subject becomes isolated in the viewfinder, amidst its shifting background, I become absorbed in that profound connection unfolding, that without my camera would become another fleeting moment.

The series manifests how I perceive my family’s story as they reconstruct their lives, retreating into nature in order to become more connected. I choose to document this story that I am removed from, by sampling from the intimate experiences that I witness. Simply Living exposes the isolated happenings and how we may change over time by altering the way we live.

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To view the project, see Amanda Knigga’s work here. Image shown is Greenbriar Ridge, 2015 (c) Amanada Knigga