PYLOT Open Call: The Finalists

Congratulations are in order for the finalists PYLOT magazine’s Open Call Exhibition in collaboration with FREE RANGE. Submitting photographers were asked to provide work befitting the brief of our latest release ‘The Autonomy Issue’.

Once all of the submissions were in, the successful photographers were hand picked by, Marco Santucci of Industry Art, Curator Cheryl Newman, andPatricia Villirillo Creative Directors Max Barnett and Patricia Villirillo.

The top three entrants are due to receive prizes from CineStill Film, Stack, Parallax Photographic Coop, and PYLOT Magazine.

This exhibition closes today, so get yourselves down to the Truman Brewery to have a look before it closes. Huge thank you to Fujifilm and theprintspace for providing the beautiful prints for this extra special occasion, and to Jägermeister for providing cocktails across the events.

We proudly present our exhibiting photographers:

Silvana Trevale
Young Venezuelans
The subjects for this series are young Venezuelans, which nowadays are in the face of an economic, social, and political crisis. Venezuela has the highest economical inflation in the world, which has made the idea of a future there seem almost impossible. Through these images, I am exploring the complex transition from a youthful, childhood innocence to a seemingly inevitable premature maturation. As the young of Venezuela face the daily obstacles of a failing society, they shift from a state of playful naivety, hardening into a more rigid, stoic attitude to their lived realities. Not only are they confronting the extreme food and medicine shortages that have caused the death of many around them, but also the lack of opportunities, leaving little room for hope, except for the possibility of leaving the country. As for the ones who cannot leave, they remain, working hard to manage the situation, adapting to the struggles and the increasing obstacles faced daily.

Hollie Fernando
These three images are from a yearlong photographic portrait of my younger brother Max, documenting the last year of his preadolescence.
After a family holiday, I had this huge realisation that Max was in such a pivotal moment in his life, delicately balancing between being a child and a grown up. For example, he would hold my Dad’s hand walking down the street, and beg for play fights every night before bed, but would also get himself up at 5.30am to do a paper round, have aftershave at the top of his list at Christmas, and could cook an impressive looking omelette after school.

Approximately three quarters of the year had passed, and I began to realise that ‘12’ was as much about myself as it was about Max. Due to the fact I am from London, and it being financially sensible at this point in my life, I still live at my parent’s home in the attic conversion. I see Max every day and we have an extremely close relationship, even with the thirteen-year age gap. I understand that this is a very unusual position for the average twenty-six-year-old and I am very aware that the situation has, in turn, made me reflect on my little brother in this way.

Shooting this project has opened up a whole new can of worms for me and I am now battling with a deep aching nostalgia for my own childhood. I desperately wish I could be twelve again and the fact that my greatest fear in life, growing old, is probably to do with this. My own memories of myself at twelve are quite fuzzy, and this makes me extremely sad, but I know that it’s a reason why I connected with these photographs so much and might actually explain the reason I take photographs in the first place.

So, as much as this project is a documentation of my brother’s last year before becoming a ‘teen’, it has also been a reflection of my own quarter-life existential-crisis. By documenting his pre-adolescence I am perhaps in some way making up for not being able to preserve my own.

Peter Banks
Cromer Pier
Cromer Pier is a project I’ve been working on for the last three years since my mother moved to the seaside town in Norfolk. Now, with no family remaining in my original hometown of Nottingham, Cromer Pier is an attempt to connect with a new identity, the new place I return to for family visits. The Pier itself is new land; a no mans land reaching out into the North Sea. My interest is in the people that gather here and the influence the environment has on them, whether meditative, reflective, for pleasure or to relive past memories. As I return every year I see many new faces but also familiar ones and the changes in them. I plan to return again this summer to continue the project.

Keith Shuaib
Kuwaiti Joy
These photographs are from an on-going series, made in the urban landscape of Kuwait.
I’m always intrigued by the – sometimes veiled, sometimes explicit, often unconscious – theatricality of urban spaces. My aim was to look at how suppressed meanings find their expression through the cracks in a city’s poker face; how informal constructions and interventions modify urban spaces originally designed to project one set of ideas and values, introducing distinct meanings of their own; and how the typical tropes of urban design and officially-sanctioned expressions end up subverting themselves.

Isolde Woudstra
Liefs, Melissa
‘Liefs, Melissa’ tells us about Melissa, a young woman struggling with depression and borderline personality disorder. After more than ten years of therapy and heavy medication, Melissa was convinced she could only find the peace and quiet that she longed for in death. However, finding a humane way of suicide turned out to be a struggle all on its own.

A physician asked by a patient to assist during a voluntary death is committing a criminal offence unless the attending physician acts in accordance with criteria of due care, which includes judging the physical and mental suffering of the patient. This suffering has to be ‘hopeless and unbearable’ before the physician is legally allowed to facilitate the voluntary death.

After Melissa’s several requests for a physician-assisted suicide were rejected, Melissa took her own life in November 2009, at the age of 27.

Claudio Majorana
Head of the Lion
Head of the Lion is a project about the adolescence of nine kids growing up in Misterbianco, a small town on the outskirts of my hometown, Catania Sicily. I met them during summer of 2011 and documented their lives for the following six years. At the time I was a skateboarder just like them, that was the kick-start of our friendship. The title of this work comes from the name of a cliff where the kids used to spend their summer days. Jumping off the cliff became a sort of ritual for them. A way to show they were not kids anymore.

Justin Rhody
The Western Lands
Since 2012 I have been working in the American West, using 35mm and medium format film to develop an expansive body of work. This photographic series explores the social landscape in both a historical and metaphorical sense; as a geographical stopping-point and a mythical conception.

In my work, I use the camera as a device that slices through my own perceptions of reality to create new possibilities of meaning through efforts in framing, nuance, and metaphor. Photography allows for me to enter the world more fully and carry out a practice of patient focus on the small, charged spaces between the obvious and the subtle. With openness and curiosity, I actively inhabit the edge of nature and search for an undefined clarity of understanding.

Paolo Zerbini
In this series, I have explored both my relationship with my family, closest friends, and the work that sustains me.
I have taken the element of fashion and placed it on the people who have helped me become what I am today, distorting them into characters, away from the roles in their everyday life.

Matt MacPake
London provokes debate, people have a love/hate relationship with the capital and the Brexit vote seems to have distanced the capital further from the regions? London is a sprawling metropolis extending much further than the square mile, or Westminster; the streets, suburbs and homes reflect environmental, social needs and human rights issues and capture the atmosphere of these peculiar and uncertain political times.

Aditya Babbar
On Going Home
It’s very hard to understand where you come from until you’ve left it.

On Going Home, explores and investigates what Family and Home mean to me through portraiture of my immediate and extended family in New Delhi, India where I was born and raised, and Markham, Canada where my family and I later immigrated to. Through staged portraiture, fictional narratives have been constructed and rooms have been curated in order to highlight the complexities realities of family life. The images ask the viewer to take into consideration all visual aspects of the image, from the decor to the posture, that are subtle clues to understanding the layered dynamics amongst each family and/or pairings.

Izzy De Wattripont
We are without a doubt defined by our experiences. They inform everything we do, whether we are aware of that or not. 2442 is in one sense a documentation of young people taking part and showing up. Being a part of something bigger than themselves that will hopefully have a positive influence on their lives, their experiences and their memories.

There is an innate human desire to belong to something bigger, something greater, than just you or I, an unconscious desire to be controlled, and conform. For some, like myself, this is paired with an uncomfortable awareness of the perpetual uncertainty of the world and its workings. For me, wanting to belong to a system of sorts means having someone to make some of the decisions for you, leaving less room question everything.

A huge part of life is about showing up. It is better to have done something than to have not, by showing up you are allowing for the opportunity to learn from something and thus be a part of something.

Mark Griffiths
Still here, Still Conscious
Spanning over the course of a year and travelling throughout the country ‘Still Here, Still Conscious’ depicts a present-day Wales and its poetic landscape.

The images are an intimate portrayal of the places and people I met along this journey that shows the harmonious beauty and tenderness of this historic land and its inhabitants.

Dictated by suggestions and recommendations from those that I encountered along the way, this journey allowed me to connect with the unfamiliar and remote parts of the country that has given me a new perspective and insight on my beloved homeland and the characters that greeted me.

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