"I use photography as a device and a coping mechanism, to reflect and evaluate on day-to-day experiences." Josh Moseleyby Josh Moseley
“My work’s about my relationship with photography. I use photography as a device and a coping mechanism, to reflect and evaluate on day-to-day experiences, as well as to evaluate the medium itself.
I came to my final piece of work because I was at a point of my life where I needed to make something that was physical, but also removable.
Wallpaper is something that comes and goes, whilst brick is viewed as something very fixed and permanent.
Making this contradiction apparent through my photography was an important part of my work.
A lot of the work I do is very personal.
I have absolutely loved my three years at AUB. Without a doubt, they have been the best years of my life -even without knowing what the future years will hold!
They have put me in such good stead and I feel so comfortable with my own work and working with other people.
I can’t express how good it’s been. I have just got a job as a creative director for a band that’s signed to Red Bull records.
I’ll be handling their whole visual aesthetic. I plan to also carry on with my own visual practice.
I’ll stay in Bournemouth, as it has a really visual community.”
"My work is based on revealing the materiality of the photographs." Ellen Taylorby Ellen Taylor
“My work is based on revealing the materiality of the photographs, showing that photography isn’t just a two-dimensional medium it’s more of a three-dimensional object.
There are microscopic images of actual photographic paper, they’re just scrunched up and exposed to light and then photographed through a microscope facility.
AUB has been amazing, the facilities are great and Dave Hazel’s guidance has been absolutely phenomenal. It’s sad that it’s all coming to an end now.
I’ve applied for a few internships in galleries doing curating, which is what I’ve been doing with the summer show so we’ll see what that leads too – I’m looking forward to a little bit of a break as well!”
"I also worked on a photography series called Hidden Self Portraits, the idea being to force the viewer to think about the photograph itself." Eivind Nakkenby Eivind Nakken
Hidden Self Portraits
“I’m working with performance, using photography, film, text, media and statues as a platform to show my ideas.
One statue shows the idea of mental illness.
I also worked on a photography series called Hidden Self Portraits, the idea being to force the viewer to think about the photograph itself.
People reading the titles will probably think it’s just pictures of the woodland but actually I’m hiding in the photographs.
I’m giving subtle hints like having the self-raised table in all of them to give an idea of where I’m hiding.”
"I purchased an acre of land from a fake extra-terrestrial Estate Agent" Jordan Bosher
Artwork on Mars
“A lot of my work is between conceptualism and photography, I use installation and mixed media.
This piece is born out of a project that investigated space. I was really interested in the issues of ownership in space, especially as technology grows and we’re able to reach different planets. I wanted to make a piece of work that really interrogated these behaviours, as well as comparing the behaviour of the colonisation atrocities with what’s happening now.
For this particular piece, I purchased an acre of land from a fake extra-terrestrial Estate Agent on the internet. I wanted to make a piece of work about this, but wasn’t sure how to do that. The work is a proposal for a piece of artwork on mars. There’s a parchment print which has the proposal for this, and accurately describes how to make this in extreme detail. The idea is that I wanted to buy this land, and then one up them in a sense. They’re selling land on different planets, and making millions from it! Throughout the project I was investigating that company I had bought it from. This was a statement on what they were doing.
The material that I used is the material that’s closest to the surface of Mars. It’s volcanic ash from Hawaii.
When I bought the land, they sent me exact coordinates. The video is me on my computer, using google earth, trying to find this piece of land. It’s kind of an experimentation to see whether I actually own this land.
Coming into the course, I was really interested in photography, but I wasn’t necessarily a photographer. I’ve been way more interested in images, rather than actually taking images. I have struggled to deal with that, because it’s a necessary component to make work. It’s been really interesting, and my tutors have really helped me find my artistic voice.
I rarely take photos, I normally deal with installations, sculpture and video work. I find it more fluid. Throughout my time I’ve also been interested in curating. It’s been really interesting.
It has been a struggle, but I’ve really found a voice that works for me now. What’s great about the course is that photography is only an umbrella term and, these days, it can be anything. The tutors have been amazing and I’ve really enjoyed it.”
"My whole project has been bilingual. I don’t speak Arabic myself, but the work is concerning the Syrian refugee crisis." Felix Speller
Come One Come All
“My piece is called Come One Come All, which I’ve also had translated into Arabic as If One of You Comes, All of You Can Come. My whole project has been bilingual. I don’t speak Arabic myself, but the work is concerning the Syrian refugee crisis.
It was inspired by the fact that David Cameron referred to the refugees as ‘a swarm’. It gave me the idea to do a visual representation of this, as a rhetoric against the media. I tried to create a feast for seagulls, and put it on the beach on a banquet table. As it happened, the seagulls weren’t interested whatsoever, even though they’ll steal food right out of your hands! So this developed my idea. If the seagulls aren’t taking the food, maybe it’s a metaphor for how refugees, who are often criticised and ostracised in the media, aren’t the evil that they’re being portrayed as.
I ended up making a book, which is an interview with a young man named Ibrahim. When he was 18, he was the first person to bring the Syrian refugee crisis and civil war up in UK parliament. He did this because two of his cousins were killed in the conflict.
I’ve got this document which sits with my work, which is an in depth interview with him, explaining all the ins and outs. It discusses how art and social media can influence this kind of thing.
One thing I would say about the course is that it’s incredibly open. It’s a photographic course, but I’ve done two photographic projects and everything else has been appropriation or moving image. They facilitate that and it’s really open.
I’d potentially like to move to The Netherlands to do an MA. In the meantime, I’m working in Bournemouth as a freelance photographer.”
"It’s been a massive journey and I’ve completely re-thought my practice..." Amilia Jenkinson
“I was really interested in the object. I’ve explored it to an extent before in my other project, and I wasn’t really sure what else to explore with it.
I was thinking about the photographic object and went back to its roots and history. I decided to look into the making of the photograph, so the frame. I decided to deconstruct the frame, and look at how its relationship with the photograph has come to be.
I have a plinth, which is made out of old frame hardboard. I went to lots of different galleries and managed to photograph the backs of frames. I work at a framers and they kindly let me make the frames. I took the plinth into the studio, photographed the old frames I’d used in the galleries, and made up the frames again. Any that I had left, I shredded and made a frame out of it.
You don’t always notice the frame in photography, but I wanted it to be the main attraction.
Before I started this course, I was really interested in portraiture. It’s been a massive journey and I’ve completely re-thought my practice, with the help of my tutors.
As soon as I finished uni, I got a job at a framers and printers. They do massive prints for exhibitions, clothing companies etc. It’s really interesting, because I’ve been framing people’s work. I want to continue my practice as well and being in a creative industry helps.”
"They’re very eerie. The people are dead, but when the pictures were taken they were never intended for that purpose." Zak Dimitrov
“My work is called ‘Face Death’. I’m originally from Bulgaria and there you see A4 posters, which are like obituaries. They use their picture, their name and a little poem or saying. Those are the pictures I’ve used for the portraits. Normally they’re put in a plastic sheet, so with one there was condensation and a little spider that had climbed behind it.
They’re very eerie. The people are dead, but when the pictures were taken they were never intended for that purpose. The pictures were taken for their families, and one was even an ID picture.
I’ve had a great three years. My third year was the best year really. All I did was this, so we could really really prepare. I’m moving to London next month to see what’s going to happen. I used to work for a magazine, and I can still carry on with that work.”
"The whole overarching theme of my three pieces, is surveillance culture, interconnectivity and how we relate to each other, in the digital age specifically." Elizabeth Fleur Willis
“The whole overarching theme of my three pieces, is surveillance culture, interconnectivity and how we relate to each other in the digital age specifically. How things have changed since the introduction of smartphones, the rise of narcissism, the way that everyone is personally autonomous in this age. One of the places I found the most prevalent is on the tube train. On the London underground everyone’s either on their phone or reading a book or maybe they’re starring at people. Either way, they’re doing something that is completely personal to them. As it’s a heterotopia, there’s nothing specifically designed to do whilst you’re on the tube.
I started sitting on the tube, I got my smartphone to pretend to take pictures of myself and actually took pictures of the person opposite me, and so that’s where it started. In the book and the newspaper there’s all these images of people on the tube, which I took the fake selfie of.
Then I started thinking more about where narcissism came from, its roots, where it evolved, how we came from feudal times to where we’re at now. I was looking at historical paintings and art around it. One of the more formative pieces is the Echo and Narcissus myth, about the sprite and the guy that falls in love with himself, and that’s the framed image of him. Instead of being obsessed with his own reflection, he’s obsessed with his selfie. He’s got a selfie stick. That’s kind of where it’s at, narcissism and how we relate to each other when we’re so self-affected. I don’t want to say absorbed because that implies a negative thing, but self interested perhaps.
Where we’re at now in culture, especially in western culture, we’re so much more interested in how our voice is heard. I think that’s fantastic, there’s nothing negative about what I’m trying to say. I want people to realise where we’re at in comparison to where we have been. Even in the forties, women were at the stage where they were like ‘Does my husband want this?’ Does my family want this?’ In the 1800’s women wouldn’t walk in the street alone and now everyone is saying what they want to say, with the power of the Internet and the digital world. It’s so much more effective. I was just trying to transform what you take for granted and make a point of it.”
"There are three prints all linked together with the combination of circles and squares." Julio del Castillo Viveroby Julio del Castillo Vivero
“Well the work’s been influenced from painting, in a way, and also geometry. There are three prints all linked together with the combination of circles and squares. You get colours that sort of add to each other; green is the result from yellow and blue. It’s also about perfection. If you look them from far away you might think they’re perfect or very well geometrically perfect but, close to it, you can see the details. Those lines are like from the laser cutter, and it’s that kind of thing, making something that looks simple, but has a lot behind it. Frank Cilla, for example, did similar things with his paintings. He did squares within squares, which were all very concentric. I tried to do it with photography in a way, to replicate that kind of painting.
These things could be done in almost 15 minutes to computer print them, but they’ve taken two weeks to print and also to frame them. It’s done in the dark room and it’s got a bit of digital. Negatives are laser cut and then engraved, placed in the dark room in the negative bay and from then the image is projected onto the photographic paper.
They’re complex in a way. They’re framed in white so they work as a series. I didn’t want to put a black frame to block them from each other; they have to work together as a combination.
I’ve had a really good three years and I don’t want to go. The only reason to stay is if I fail the year, but I passed! It’s been amazing working with people and learning. The great thing about it, I think, is the opportunity to just do what you want. You get creative freedom not constrained by specific things or anything. There are also tutorials all the time to guide you in the right way if you don’t know what to do, that’s really good.”
"It's about the longing that we always have to explore new places." Lola Thomas
'Another place and here'
“It’s called ‘Another place and here’ and it’s about space, the unexplored and the new frontiers. It’s based on the way humans have a constant longing for new places and they are constantly go after new things. Each image has a weird intention of something familiar, you kind of understand it but it’s not a real place. It’s about the longing that we always have to explore new places.
I’ve absolutely loved it, it’s been brilliant. This last year been the hardest but the most fun. I’m going to try and apply for some MAs, which I’d really like to do but I might be a little bit young, so I might apply then defer. Other than that I want to go into photo book publishing, so I’m going to try and get some internships in London.”
"I printed out images on A0 paper and poured bleach over them and filmed it whilst I was doing it." Elena Cremona
“I’m very interested in climate change and how our earth is developing. What I did is try to raise awareness for climate change, and how we are destroying nature and irreplaceable landscapes. I printed out images on A0 paper and poured bleach over them and filmed it whilst I was doing it. It’s destroying a complete print, which acts as a metaphor for how we treat nature and our planet.
I feel like art is a message to get it out there. People look at visual stuff; it’s better than reading an article. It’s a slow process as well.
I’ve had the best time of my life and I’m so sad it’s over. I just love uni! When I came here my photography was so bad. I really wanted to do commercial stuff, but they really encouraged me in what I wanted to do.”
"I love food photography, it’s my passion!" Charlotte Nott-Macaire
“I was looking at advertising briefs in photography and food. It’s all about being clean. You’re not allowed to have paint anywhere and the food has to be nice and clean. So I went completely against it. I used grey, and you hardly ever use grey within food photography. I love food photography, it’s my passion!
I’d say this has been my highlight. It’s a nice way to end it with everyone together. It’s a lovely uni with different creative courses, so you learn different things. It’s really good fun. I want to be a food photographer. I’ll assist for five years, and then go solo! I worked for an agency for a few weeks that did advertising photography. We did a food shoot, and I loved it.”
"I don’t think the volunteers are celebrated, they’re quite hidden in society, and they do so much!" Caitlin Chescoe
“Last year when all the flooding happened, I went up to the Somerset levels and helped out getting their houses back together. I met a volunteer group there. In December, the council cut all of the funding, so the volunteer group didn’t happen anymore.
This came about because people had given up their jobs to help these people get back into their homes, and I just wanted to know why. I ended up going to the food bank and it got really deep, because people that have used it go back to volunteer. It’s about getting back into society.
There’s a lady at Cherry Tree Nursery, which is for mentally ill people. They help with the gardening to get back into society and give them a purpose to wake up for in the morning. I don’t think the volunteers are celebrated, they’re quite hidden in society, and they do so much!
I couldn’t really believe how much the Somerset guys had done for the villagers, and why they had done it. It’s amazing.
I’ve had the best time on Photography. It’s been so good and I’m so glad that I’ve done it. I’ve learnt so much, and now I know what I want to do. I absolutely love documentary photography and portrait photography, so I’d like to continue that in my own personal practice, but I’d also like to go into commercial work.”
Megan Hood has had her work published in the June edition of the British Journal of Photography.
Final year Photography student in British Journal of Photography
Megan Hood is a Fine Art Photographer, currently in her final year. Her practice mainly revolves around the theme of camera less/concrete photography and reflexivity; showing the machine as the author and the artist as the manipulator.
Visit her website to find out more about her work.
Truman Brewery 26th - 29th June 2015
"Since year one my work has changed so much. I never thought that I was going to do a moving image."
Skin and Feathers
The whole project was exploring the idea of existence, vulnerability and what’s out there. It’s very existential and morphed throughout the project. The idea of the feathers is very innocent, it’s almost like rebirth. As the feathers fall down and they adhere to the bodies almost like a totem. When that’s done it reverses and the feathers go back up, it’s like being reborn again.
I always knew I was going to do a projection, I wasn’t even sure if I was going to do video work. I was leaning toward prints and then I thought that video work would work really well with what I was trying to do. I was thinking of just projecting it onto a board but I wanted it to be tactile and really ephemeral, so its supposed to be so people can walk around it, feel it as the chiffon moves. It’s very raw, that adds to the vulnerability of it all.
I think [AUB] is such a great creative environment. It’s so supportive of the artists and really, really helps you build the artwork; it’s how I’ve managed to create work that I am happy with. They’ve really given me the freedom and good feedback in order to build on it. The facilities are great, it’s been a real privilege.
"I’ve been to their storerooms and stockrooms and photographed the sculptural and anthropomorphic qualities of objects that we wouldn’t even be interested in."
My work is called ‘Stock’, it’s basically looking at the behind the scenes of a working shop. I’ve been to their storerooms and stockrooms and photographed the sculptural and anthropomorphic qualities of objects that we wouldn’t even be interested in, I’m trying to create interest from these objects. I work in a sandwich shop and it started of there with a tiny little stockroom that we had. It went on to small business stockrooms, like pet shops and vintage yards – all different places. I’m really interested in sculptural qualities of objects. You can see that in some of the work.
AUB has been absolutely brilliant. The tutors as well they’re just so helpful! Its just been fantastic there.
You can view more of Rachel’s work on her website.
"I wanted people to stand here and not really get it and ask, 'What’s going on?'"
“My work combines painting and photography together, it all stemmed from my dissertation where I wrote about the Pre-Raphaelites and the invention of photography. When photography was first invented, in portraiture they didn’t really know what to do and didn’t know how to pose people. So, they would copy Pre-Raphaelite paintings, all the poses. Since then painting and photography have had a really close relationship. It’s something that I think is coming even more abridged now.
In all of my portraits, they are actually a series of eight, I take gestures from paintings, which are mostly from the renaissance and work them into a contemporary photograph. This is to confuse the viewer, because we have a really odd relationship you look at it and you think it’s absurd, ridiculous almost. When you see it as the sculpture from that time, you think it’s beautiful, you don’t question why they’re stood like that and obviously we do now, so it’s to sort of question the viewer’s understanding of not only the history of art and painting back then, but what we consider a photograph and a portrait now.
[On BA (Hons) Photography] we’re constantly pushing the boundaries, it’s not just this is a pretty image, it’s no, we want to question stuff, we want to really challenge how viewers perceive photography. I’m sure you can tell as a whole course, everything is so different.
I’m so glad that I went to a specialist university, it’s so creative as you walk around, everyone encourages each other. I’m very sad to see they end of it.”