Showcasing their work at theprintspace, the chosen finalists represent a creative voice communicating in tandem with the magazine’s aesthetic. Supported by thehub, finalists have the opportunity to exhibit their projects in-house with the support of the PYLOT team. The top eight successful submissions were selected by the founders of PhotoMeet, Mimi Mollica and Frede Spencer, Curator Cheryl Newman, as well as PYLOT’s Editor-in-Chief Max Barnett and Fashion Director Patricia Villirillo. This exhibition opens tonight and will run until August 1st.
Showcasing their work at theprintspace, the chosen finalists represent a creative voice communicating in tandem with the magazine’s aesthetic. Supported by thehub, finalists have the opportunity to exhibit their projects in-house with the support of the PYLOT team. The top eight successful submissions were selected by the founders of PhotoMeet, Mimi Mollica and Frede Spencer, Curator Cheryl Newman, as well as PYLOT’s Editor-in-Chief Max Barnett and Fashion Director Patricia Villirillo.
This exhibition opens tonight and will run until August 1st.
This portrait series represents a focus within my personal work that investigates inequality and race politics in Cape Town, South Africa. The women featured in this portraiture essay are domestic workers employed in homes in an area known as the ‘Southern Suburbs’ of the city. Since the end of apartheid there has been very little socio-economic redress in South Africa, and wealth and privilege are still very much held by a small white minority to the exclusion of the majority of black South Africans. The presence of full time domestic workers is perceived as the normal standard by many of the families who employ them. Based on my personal experience growing up within this inherently privileged community, these images bring focus onto the roles these women play in domestic spaces post-apartheid.
Pairings is a series constructed by the considered combination of a pair of images: when placed in a context dictated by a series of self-imposed guidelines, such as lighting, color and shape similarities begin to emerge. All of the images were shot on an Olympus Trip, which I always carry in my backpack. I’m constantly on the lookout for elements that attract my attention in day-to-day life, regularly featuring moments created by my family and friends. The general atmosphere of the project is one of wonder and strangeness, looking for objects, actions and structures that are in some way out of place.
F(L)IGHT is a personal and multi-perspectival photo series exploring varied themes of identity and nationalism in Boston, Lincolnshire, a town labeled as “the face of Brexit” due to it’s residents posting the highest leave vote in the whole of Britain. The series’ name is evocative of my personal decision to leave my home country, as well as fightrepresenting the dissatisfaction and tension of the local people, and the light is the hope for a better tomorrow.
Nakaduli explores my roots through documenting aspects of my father’s hometown Tbilisi, the capital of Georgia. Since my father and his brother emigrated two decades ago my grandmother remained there alone. I wanted to examine my roots, to see how my father grew up, and how my grandmother lives now. Through still life, street photography, and portraits of my grandmother it was my aim to explore themes of aging, loneliness and loss by providing personal answers through poetic pastel images.
When we moved into 119 we had no possessions of our own, and left with a broken TV and some wank 70s furniture. I tried to make it ours: I trashed the shit stuff and put out what we had. We hung a picture I took back in college of my girlfriend, before she knew I liked her, when I used to stay up and fantasize about her. Now finally I have her – we live together and life is good. We slept on the floor a lot, the bed was old and everything felt dirty for her. We had no Internet and no distractions from each other. Fuck, take me back.
As I Found Her is a story of my search for Eigg: opening her up and discovering the island. Each photograph of Eigg’s inhabitants felt like a gift, peeling back layers and gaining entry through the lens, exploring the reality of a place that is often only achieved as an insider. In gaining access, I found it layered with an unexpected connectivity and insight into my own sense of longing and belonging for my West Yorkshire playing fields and battlefields. I could feel my isolation within them. Sometimes it can take a remote Hebridean island, and its community of close-knit, far-flung strangers, to make visible the sense of being.
Driving Through Flyover Country examines the people, places, and culture of the American Midwest. The Midwest has picked up the somewhat derisive nickname of Flyover Country as it’s viewed as an uninteresting place with not much going on and usually just “flown over” by people going from coast to coast. There is no one archetype that represents the people living there: the personalities are as diverse as can found in any large city; there is a subtle beauty to the landscape, if you can learn to appreciate its difference from mountains and forests. These photographs examine some of the current state of the American Midwest. Small towns are in a struggle to survive, and for some the party is already over, the dream of a prosperous American town left in pieces.
Hospitals are not automated machines; they are quite simply a human place – run by humans, for humans. Strength flows from person to person, whilst extreme fragility is something possessed by all people, in both cases irrespective of status. Love Time explores the universal human qualities of strength and fragility, and challenge conventional thinking and imagery around power relationships within hospitals between staff and patients. The over-arching context to the images is the current deconstruction of the NHS through privatisation. The name of the series derives from the t-shirt of a patient I met and photographed in the hospital. There is an ambiguity in its meaning between the care received in hospital and an instruction to hold time precious.