Statements provided by the artists, and edited by James Ross. Linn Lundin
Edinburgh Napier University
Lundin’s Goodnight Darling is a personal project about her grandparent’s relationship in the years following her grandfather’s passing; set in her native Sweden, the project explores her grandfather’s presence and absence in her life, as well as her grandmother’s, exploring their shared loss through the physical momentos left behind.
Statements provided by the artists, and edited by James Ross.
Ocean’s series draws upon humour in familial relationships, recounting routine anecdotes and elevating them from the banal to the whimsical. Quotations under imagery give them context in terms of remembrance, nostalgia, and humour: “Mum empties the receipts and loose change out of the pockets of Dad’s trousers into the palm of her hand. She shouts through to the front room with a laugh, ‘If we save all this change, maybe we can get carpet on the stairs this year!'”
Radford’s work Knuckles that have never been cracked explores the familiarity he seeks in all of his projects, a nod to home and the people that adorn it. It is an outward looking, indirect exploration of himself: the deepest of love letters to those nearest.
Lovering’s work Sticks and Stones depicts the traces left on skin from incidents such as operations, self-inflicted injuries, or accidents. The project looks at the way skin reacts to environmental stressors and compares the impermanence of blemishes, such as bruises or indents, to the permanence of scars as historical records.
Desnoes’ work Fourteen documents the isolated life of Timothy, a man born with cerebral palsy, and his elderly mother, Joan, who became his full-time carer following her husband’s death. The work explores their emotional, physical, and financial interdependence, whilst challenging the complicated and unanswered questions surrounding their relationship.
Hashinokuchi’s series Something but Nothing recontextualises found objects by rearranging and photographing them. Her images are both coincidence and fiction and are made with no concepts or purposes. Her objects come together to create intriguing and thought-provoking imagery to generate new narratives.
Wynne’s series explores the experience of being immersed in the sky, a concept that stems from a childhood fascination. Markers of analogue processing and printing act as evidence of his attempt to release something from the medium that was present at the time of shooting.
O’Flaherty’s Powolani przez Boga documents feminine devotion t0 God and explores beyond the stereotypical perspective of women’s roles in the Catholic Church through seeking to understand what makes these women give their lives to God. She notes that, “the sisters display an inner contentment that many in a contemporary society would envy”.
Buivydas’s photobook F(L)IGHT is an insightful, personal and multiperspectival exploration in the town of Boston in Lincolnshire, labelled as “the face of Brexit” due to having the highest Leave vote in Britain at 75.6%.
“The lightless womb, the unsettling night, the blackness before the dawning of a new Sun.”
Wright’s photographs visualise the abyssal journey towards a union with the ineffable. As the lower self succumbs to the revelation of a higher centre, he notes that feelings of existential anxiety and crisis are not uncommon.