Photographic Practices Mervyn Arthur   Neil Drabble   Martin Newth  
  Jordan Baseman   Lucy Gunning   Helen Robertson  
  Bernd Behr   Sigune Hamann   Lois Rowe  
  Veronique Chance   Thomas Haywood   Danny Treacy  
  William Cobbing   Mark Ingham   Chris Wainwright  
  Paul Coldwell   John Lanteri-Laura   David Webster  
  David Cross   Chrystel Lebas      
  Sarah Dobai   Johanna Love      
  Lorrice Douglas   Anna Mossman      
Events & Exhibitions
    Mervyn Arthur  
  Camera Interiors 2009-10  


  In Mervyn Arthur's austere and evocative series Camera Interiors the camera has been turned back on itself. Whilst at first the images appear to depict ambiguous architectural spaces, clues within the images such as a screw, a scratched number or traces of dust betray the spaces' scale and function. In making this work box cameras are opened up and illuminated with daylight. These miniature spaces are then photographed using close up lenses and long exposure times. The resulting images challenge the notion that the photograph points the viewer in the direction of other things. They offer up instead an unfamiliar displacement: the space of production is revealed but the imaging process and the other things remain outside the photographic frame.  
    Mervyn Arthur trained at Trent Polytechnic and the University of Westminster. He has exhibited in numerous group shows, including Eastinternational in 2009. His series Camera Interiors was published in Source magazine in 2008 and he is soon to have a portfolio of work appear in the journal Philosophy of Photography. Mervyn Arthur is currently Senior Lecturer in photography at Camberwell College of Arts.  
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      Jordan Baseman  
      (Drum Roll) Chandelier 2011  
    Jordan Baseman’s recent work is a synthesis of reportage, portraiture, documentary, creative non-fiction and narrative practices. Baseman works with, and records people, in order to produce films that have the interview and editing process at their core. Oral history, first person spoken-word narratives, field-recordings and recorded interviews, are central concerns in his work.  
    Jordan Baseman is currently Reader in Time Based Media at Wimbledon College of Art, University of the Arts, London, and is also a Lecturer at the Royal College of Art Sculpture School and The Ruskin School of Drawing and Fine Art, University of Oxford. His work has been shown in numerous major solo and group shows. He is represented by Matt’s Gallery, London  
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    behr   Bernd Behr  
      Topographic Obscenities, 2008  
    Working across photography, sculpture, video and writing, Bernd Behr's practice operates a speculative archaeology at the intersection of images, narratives and the built environment. Often engaging with specific architectural sites and their associative histories, his work inserts itself into these subjects through modes of research and fiction. Many of his projects involve both documentary and constructed elements, as well as the appropriation of previous work into continuously evolving narrative systems.  
    Born 1976 in Hamburg, Germany, and raised in South-East Asia, Bernd Behr studied at Goldsmiths College, London. He was selected for Beck’s Futures 2003, Institute of Contemporary Arts, London, and received an Arts Council deciBel Award in 2006. Selected solo exhibitions and screenings include The Hepworth Wakefield, 2011, Bloomberg Space, London, 2010, High Desert Test Sites, California, 2008, Alexia Goethe Gallery, London, 2008, e-raum, Cologne, 2007, and Chisenhale Gallery, London, 2006. Recent group exhibitions and screenings include Whitstable Biennale, 2010, Württembergischer Kunstverein, Stuttgart, 2010, Storefront for Art & Architecture, New York, 2009, Lewis Glucksman Gallery, Cork, 2007, Chelsea Space, London, 2007.  
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      Veronique Chance  
      Labs 1-4 at night, 2011  
    Veronique Chance works with photography and video but also maintains strong links to sculpture and performance practices. In recent work has used mobile camera technologies to transmit and record her dual eye-views, whilst performing long-distance runs in the outside environment. These photographs were taken following a run undertaken at night, during which the artist wore a torch to spotlight her way in the dark, giving illuminated glimpses of her surroundings in the otherwise almost total darkness. The photographs revisit the route, allowing her to stop and have a more considered engagement with these buildings, former military test laboratories, now abandoned and decaying relics.  
    Veronique Chance has exhibited nationally and internationally and has also published written work. She received a British Council Travel Award in 2007 for an exhibition in Seoul, Korea and in 2009 completed a residency at the Banff New Media Institute, in Canada, where she researched the potential of live broadcast/ video streaming in relation her work. In 2012 she will be performing an ‘Ultra-Run’ tracking paths close to the boundary of the London Orbital, for the Stephen Lawrence Gallery Olympic Programme for 2012 (University of Greenwich). An Associate Lecturer at Camberwell, she is also currently completing a PhD at Goldsmiths College.  
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      William Cobbing  
      Bamiyam Mirror 102, 2009  
    The photograph, all photography, is by its nature a loss of energy. It discloses an instant that has vanished forever and always exists in the past. It is a fragment of something that is essentially transient. It is an entropic residue. So Cobbing decided to make the subject of his photographs the image of the Bamiyan Buddha niches reflected in the surface of a mirror, with the aim of emphasizing their quality as a mirage. In a local bazaar he bought a mirror that he carried with him wherever he went, stopping occasionally to photograph the reflected image of the two empty spaces.' Rita Selvaggio  
    William Cobbing studied BA Fine Art at Central Saint Martins College, and De Ateliers, Amsterdam. Solo exhibitions include ‘Gradiva Project’ at Freud Museum and Camden Arts Centre (2007/8), ‘Man in the Planet’ Viafarini DOCVA, Milan (2010) and group exhibitions ‘A Secret History of Clay’ Tate Liverpool (2004), Hasselt Triennial, Z33, Belgium (2008), and ‘Body Gestures’ at Herzliya Museum of Art, Israel (2011). He was awarded the Helen Chadwick Fellowship in 2005/6 at Ruskin School and British School at Rome.  In 2009/10 Cobbing had two residencies at Turquoise Mountain Foundation in Kabul.  
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      Paul Coldwell  
      Traces and Clues 1, 2011  
    Traces & Clues are works derived from an ongoing concern with the languages of photography, printmaking and drawing and the manner in which, through digital technology, they have become conflated. The image began as a digital photograph, taken into Photoshop and layered with drawn elements. This was then printed as a large format ink jet print before re-engaging with the surface through a further layer of drawing made directly onto the surface of the print. The photographic imagery is derived from detritus onto which drawn elements of discarded objects have been added. The actual drawn layer endeavours to knit these two languages together across the surface of the paper.  
    Paul Coldwell’s practice includes prints, book works, sculptures and installations. He has exhibited widely, his work included in numerous public collections, including Tate, V&A, British Museum, the Arts Council of England and Yale Centre for British Art.  He was one of the invited artists to represent UK at the Ljubljana Print Biennial in 2005 & 1997 and selected for numerous open print exhibitions including the International Print Triennial, Cracow (2000, 2003, 2006 and 2009) and the Northern Print Biennial 2009 and 2011. Recent solo exhibitions include, I called while you were out  (Kettle’s Yard Cambridge, UK 2008-09) and a survey of his recent graphic work at An-Dan-Te Gallery, (Seoul, Korea 2008). He regularly exhibits in London, most recently in the group exhibition Interior Spaces (Eagle Gallery,2010).  
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      David Cross (Cornford and Cross)  
      The End of History, 2004  
    David Cross works with Matthew Cornford. Cornford & Cross began collaborating while studying at Saint Martin's School of Art in 1987, and graduated from the Royal College of Art in 1991. Their work responds to the problems that arise out of particular contexts or situations. Accordingly, each of their projects has been different in both form and content. They have carried out an Arts Council residency at the London School of Economics, and a British Council residency at Vitamin in Guangzhou, China. In Europe, they have exhibited in Bologna, Rome, and Stockholm; in the USA in San Francisco, Philadelphia and New York. In London their work has been exhibited at the Camden Arts Centre, the ICA, Photographers' Gallery and South London Gallery. Black Dog London have published a book on their work, with critical essays by John Roberts and Rachel Withers.  
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      Sarah Dobai  
      Still from 'Short Story Piece'. 2006  
    Sarah Dobai works with photography, video and film. Her work combines studio based and on location approaches to focus on the experience of everyday life in the city.  Her photographs and films, which demonstrate a heightened kind of realism, bring together an interest in picturing something of people’s inner lives with a concern with the concrete circumstances that frame those lives.  
    Sarah Dobai's work has been widely shown nationally and internationally. Recent shows include On the Nature of Things, Kamloops Art Gallery, (Canada) A Fire in his Masters House is Set, Chapter Arts (Wales) both 2011,   Sarah Dobai: Studio/ Location Photographs, WorksIProjects, Bristol (2009), Innocence and Experience, Gimpel Fils, London (2008), Sarah Dobai, Photographies et Film, Galerie Zurcher, Paris (2008), Sarah Dobai, Photographs and Films, Kettles Yard, Cambridge (2006). Her work is featured in Charlotte Cotton’s Photography as Contemporary Art (Thames & Hudson) and Michels Poivert’s Photographie Contemporaine (Flammarion Presse).  
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      Lorrice Douglas  
      Untitled, Film Still, 2011  
    Lorrice Douglas uses photography, installation and archive to construct spaces which question surface, memory, staging and the site specific.  Her current research engages with artworks that exist between contexts; the historical, the archival and the fictional and the way the ambiguities of these works are experienced by the viewing subject.  
    Lorrice Douglas studied at the Slade and went on to participate in de Ateliers Studio Programme in Amsterdam. Recent projects include residencies and exhibitions at: Lanternhouse, Cumbria, Artsadmin, London,  BCA Gallery, Bedford and 'Figurations of Knowledge: Art as Research', Berlin.   
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      Neil Drabble  
      More Beautiful than Canova, 2010 (left)  
      Bread on the Head of the Prodigal Son, 2010 (above)  
    Neil Drabble’s practice encompasses a wide range of disciplines, strategies and approaches. Whatever form the final work takes, photography is usually a fundamental part of the process.  
    Recent exhibitions include: ‘The Great Masturbator on Holiday’ [solo show] Gooden Gallery, London and a group show at A.P.T Galley, London, curated by Mark Wallinger. Neil Drabble’s first book ‘Tree Tops Tall’ was published by SteidlMACK in 2003.  
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      Lucy Gunning  
      Mirror Event, 2007  
    Lucy Gunning works with video installation, sculpture, performance and events, usually in response to a particular context or situation.  Relationships between space, behaviour and social constructs reoccur in her work. Architecture or architectural structures often act as sculptural elements or staging devices for video.  
    Lucy has exhibited internationally; she is represented by Matt’s Gallery London and Greenenaftali New York. She is a Senior Lecturer at Chelsea College of Art & Design. And has recently been awarded the Kenneth Armitage Fellowship 2011-13.  
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      Sigune Hamann  
      Whitehall, 2011  
    Sigune Hamann deals with still and moving images. In photographs, videos and installations she explores the effects time and perception have on the construction of mental images. Everyday appearances are transformed into pictures and films, which reveal underlying rhythms and meaning. Hamann questions patterns that constitute time sequences and pictorial spaces in the process of seeing.  
    Hamann has exhibited widely at venues such as: Harris Museum, Preston; Gallery of Photography, Dublin, Kunsthalle Mainz; and Künstlerhaus Schloss Balmoral, Germany.  
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      Thomas Haywood  
      Everybody wants to be Somebody Part II, 2009  
    Thomas Haywood uses photography as a meditation on elements of the human condition, and to explore relationships between people, time and place. In this work a new generation of young men grow up, leave their childhood homes and come of age in the city. Photographed at regular intervals over six years, the growing relationship between the photographer and the subjects unfolds before the camera.  
    Thomas Haywood graduated from the Royal College of Art in 2008, and for the MA final show was awarded the Photographers' Gallery RCA Prize. Recent solo shows include Metro in Copenhagen, Denmark in 2011, and newly commissioned work at Exhibit, London in 2010. Group exhibitions include 'Success/Failure,' at Photomonth in Krakow, Poland, 'Mirror, Mirror,' at the Jerwood Gallery, London, and 'Survey,' at Standpoint Gallery, London.  
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      Mark Ingham  
      Marilyn, Miller and Me 1956-2011  
    ‘The young man at the beginning of Andrei Tarkovsky's Mirror stammers and stutters, and learns not to. My grandmother staggers again out of The China Hall Pub, The Pimlico, The Eagle The White Horse Tavern and never learns. In the icy wastes of the French Alps she dives into freezing lakes followed by my grandfather, without a St. Bernard for company. The London Soho Troy Bar always clings. However far I try and get away from Grey Gardens it still tugs me back to 'Tea for Two'. These photographs feel like they in a cavorting carousel, that documents the transitory lives that pass through this crystalline world.’  
    Mark Ingham recently completed a PhD at Goldsmiths College, London. He studied BA Sculpture at Chelsea School of Art and went to the Slade for his postgraduate degree. He was then awarded the Henry Moore Foundation Fellowship at Camberwell School of Arts and Crafts. He is a PhD Director of Studies and Supervisor at Wimbledon School of Art. He is the Masters Programme Leader for the Architecture, Design and Construction School at The University of Greenwich. He has exhibited widely, most recently and installation at Dilston Grove for the Cafe Gallery Projects titled ‘Ars Magna Lucis et Umbrae’ which was funded by an individual grant from the Arts Council of England.  
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      John Lanteri-Laura  
      Dessication, 2010  
    John Lanteri-Laura: 'Preservation' in its crudest sense has always been a curiosity: the desiccating effects of sunlight or the pickling of organic material in solutions. Photography is also a form of preservation mediated through the physical effect of light. These images are part of a larger body of ongoing work investigating the materiality of light and recording the preserved.  
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      Chrystel Lebas  
      Presence - Kupa - August - 2010  
    Stemming from her interest in looking at how landscapes contain psychological significance in relation to visually concealed histories, legends, and our childhood memories, Chrystel Lebas employs photography and the moving image, often pushing the apparatuses to the limits of their functionality to produce images. Her work depicts landscapes that are empty of humans or animals, suggesting the influence of their presence and their reliance. The images are mainly produced at dawn and at dusk, recording in twilight when illumination gives way to darkness, the familiar becomes strange, the seen becomes imperceptible, and, like animals, we are forced to rely on instinct and intuition.  
    A graduate from the Royal College of Art, Chrystel Lebas’s photographs and films have been widely exhibited including: MMSU Rijeka, Croatia; The Collection and Usher Gallery, Lincoln; Witzenhausen Gallery New York & Amsterdam; Le Musée de la Chasse et de la Nature, Paris; National Media Museum, Bradford; The Photographers’ Gallery, London; Nichido Contemporary Arts, Tokyo; Victoria and Albert Museum, London. Works are held in several private and public collections amongst them The Victoria and Albert Museum (London), Bibliothèque Nationale (Paris), The National Media Museum (Bradford), The Collection and Usher Gallery (Lincoln), The Citigroup Private Bank (UK), and The Wilson Center for Photography (London).  She has published two monographs: L’espace temps-Time in Space (2003) and Between Dog and Wolf (2006).  
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      Johanna Love  
      Staub III (dust), 2010  
    Johanna Love’s current work explores surface, materiality and time through convergence of digital photographic and traditional drawing practices. She is interested in how a photographic image might sit at the verge of recognition and photographic representation. Love is interested in how notions of emptiness within a photographic image may generate both a sense of visual loss and yet a fullness of perceptual imagination. The dust that love carefully draws onto the photographic prints draws attention to what is normally hidden in a photograph – its surface and its process of making through the lens. Dust can be seen to be a key aesthetic reference to the evidence of physical matter, of contact, of human presence.  
    Johanna Love has exhibited widely in the UK and abroad. She has recently had work included in shows at Artspaceh Gallery, Soeul, the Jerwood Gallery, London, Departure Gallery London and the Novosibirsk State Museum, Russia.  
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      Anna Mossman  
      Untitled (Polanski/ Farrow), 2011  
    Paralleling the act of communication/ interpretation/ improvisation witnessed in found photographs of directors and actors in discussion on location, Anna Mossman uses painting and photography to achieve imperfect transcriptions/ copies of the original photograph. The time consuming act of transcribing the original photograph into a painted image is challenged in the momentary instant of photographing the painting. This second photograph, depicting the painted image but printed in negative form, creates a short circuit, winding us back to the original photographic negative exposed at the scene: that first witness to a symbiotic act of communication, and interpretation between actor and director.  
    Anna Mossman’s recent exhibitions include Hands On, Galerie Raum mit Licht, Vienna, 2010 and In – and outside – writing, 2011, Voorkamer, Belgium. Solo shows include Lisson Gallery, London and One in the Other, London. Select group shows include Urbane Legenden, Kunsthalle Baden Baden, Germany; Galerie Lelong, NY; Almine Rech, Paris. Anna Mossman is Associate Lecturer in Photography at Camberwell College of Arts, University of the Arts, London.  
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      Martin Newth  
      Arthur's Stone 2, 2012  
    Martin Newth’s approach to photography might broadly be described as experimental and emphasises the processes by which photographs are made. He makes use of techniques and processes which include: purpose built large format cameras to make very long exposure photographs; transforming buildings into cameras; and exploring ancient as well as contemporary technologies such as the camera obscura and high definition digital video. As such Martin’s work harks back to the moment of photography’s discovery and asks questions about the aesthetics of the medium now and in the future. Past projects have included a series of 8-hour exposure photographs of him and his wife asleep in motel rooms, whilst on holiday in the western USA. His most recent project has explored the British landscape through transforming WW2 defensive buildings into cameras.  
    Martin Newth was born in Manchester in 1973. He studied at Newcastle University and the Slade School of Art. Martin Newth has exhibited nationally and internationally including solo and group exhibitions at: George and Jørgen, London; Axel Lapp Projects, Berlin; Focal Point Gallery, Southend; Ffotogallery, Cardiff; Open Eye Gallery, Liverpool; the Kunstverein Konstanz, Germany; and the V&A Museum of Childhood, London. Martin Newth’s work has been published in books and catalogues including: ‘Sentinel’ (2011); ‘Future Images’, a survey of current international photographic art (2010); ‘Sequences: Contemporary Chronophotography and Experimental Digital Art’, (2009); ‘Martin Newth: Solar Cinema’, (2007); and ‘Slow Burn’, (2006). Martin Newth has organised and co-curated numerous exhibitions including a series of artists' projects at Central Space, west London (2001-2004). Between 2005 and 2011 Martin Newth was Course Director of BA Photography at Camberwell College of Arts. He is now Programme Director of BA Fine Art at Chelsea College of Art and Design.  
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      Helen Robertson  
      Duck, 2011  
    Helen Robertson’s installations work across photography, painting, sculpture, video, 16mm film, animation, digital drawing and performance.  This cross-disciplinary approach is used to find juxtapositions, connections and disconnections between bodies and elements. These bodies and elements will often have their own identity and be mistaken for the work itself.  But really the concern is with the interplay between works, the space or spacing between elements and what these configurations engender within a given context.  
    Helen Robertson did an MA in Fine Art at Goldsmiths’ College, University of London. Solo exhibitions include Concrete at the Hayward Gallery London, Galerie Nei Liicht Luxembourg, Matt’s Gallery London and The Rotunda Stadthaus Ulm Germany.  Publications include Concrete Photography edited by Gottfried Jäger and Blind Spot Magazine.  
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      Lois Rowe  
      The Bawas, 2011  
    Lois Rowe uses film as a medium for investigations into the formulative structures of artistic practice: practice that takes place both under the immaterial conditions of histories of thought as well as material conditions of histories of power. Her recent short films have made particular and recurring reference to the role of authorial voice in the construction of sound and un-sound narrative spaces and their consequences for a possible viewer.  
    Since the late 90s Lois Rowe has been exhibiting her work internationally, writing and publishing. Her work is sometimes print-based, often resolved through the media of sculpture and costume. Since 2006 she has been making narrative films and videos, in which her previous working media of sculpture and costume are often incorporated. Rowe is the Pathway Leader BA Fine Art: Print & Time Based Media at Wimbledon College of Art and has recently completed her practice-based PhD.  
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      Danny Treacy  
      Those #27, 2008  
    For the series Those, Danny Treacy hunts for and collects items of clothing, from varied but very specific areas. The clothing is then disassembled and reassembled by Treacy. When re-formed it mimics potential organic life forms. Those defy categorisation, blurring the boundary between the artefact and the organism. Not informed by language, unknowing of specifics; Those take a chance on existence. They remain mute, passive. Those are more ‘spent’ than ‘dead’, or perhaps lying dormant, waiting. Those are anti-souvenirs of the adventure of seeking out and of collecting the clothing, becoming an anthropological pangender collection of both hybrids, specimens, fossils, relics, a world of life-forms that flower nocturnally, the aborted and the stillborn.  
    In 2008 Treacy had his first UK solo show at The Photographers' Gallery, London. Treacy's work has been featured in numerous prestigious international exhibitions including: PhotoMuseum Antwerp, Belgium; Galleria Civica de Modena, Italy; and The Kunsthalle Helsinki, Finland. He has won various awards including The Man Group Photography Prize, The inaugural Jerwood/Portfolio Photography Award and The Photographer's Gallery Award.  
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      Chris Wainwright  
      Red Ice, 2009  
    Chris Wainwright has undertaken numerous projects that have explored, through photography and the moving image, the implications of his presence in rural, urban, public and private spaces during the hours of darkness with his camera as an ever present recorder. A key aspect of his work is a continuing preoccupation and exploration of light as a source of illumination, communication, invasion, erosion and surveillance.  
    Professor Chris Wainwright is the Head of Camberwell, Chelsea and Wimbledon Colleges, University of the Arts London. Wainwright has exhibited international at numerous prestigious venues including Museum of Modern Art, Santiago, Chile and Donna Beam Gallery, Las Vegas USA.  
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      David Webster  
      33 Crows in a Park  
    David Webster’s current practice focuses on the life narrative and its relationship with technology. This interest has lead to the production of a series of photographs, which in a form of digital multiple exposure either use a multiple referent or changes over time to construct a dubitative image. Alongside this he has also produced large-scale photographic digital works based on grids.  
    David Webster has had work commissioned by a large number of newspapers and publishing houses in the UK. His work has been shown in group shows in the UK and internationally. He is currently an Associate Dean at Camberwell, Chelsea and Wimbledon Colleges.  
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