“That’s Quite Council Estate” documents the journey of Morgan McMahon’s development in understanding her personal and intricate relationship with her hometown of Clifton. Generations of McMahon’s family had been raised streets away from one another, starting with her great grandparents who were one of the first families to move onto the council estate back in the 1950s. Throughout “That’s Quite Council Estate”, McMahon explores her history with being from Clifton, combined with the stigma that surrounds the council estate, and the complexity of what it means to be working class.
This is a series of images about the loss of a loved one and developing different ways to express and accept grief. This project reflects the impact of returning to places associated with fond memories of the lost loved one and coming to terms with this loss through photographing woodland areas. These areas provide a connection between the past, when the family was whole, and the fractured present and revisiting these places of a carefree, happy childhood has been instrumental in the journey from grief to acceptance. This work is a continuation of a previous body of work where unintentionally, this process started. On returning to these places of serendipity, a growing realisation developed that the positive feelings and emotions associated with the wood are actually intrinsically linked with memories of those who are absent and the realisations that their familiar presence is still there.
Instagram : @xsxbxl
From painting to photography, still life has always been an interesting genre to me; I am driven by the challenge of telling a story or portraying a message without the use of a face. Therefore, choosing to pursue this genre and discourse seeming completely natural. I wanted to develop my ideas from a project last year which was also focused on still life, but was more of an exploration of form, creating images from the simplest of objects and shapes. The first question that I asked myself was: what makes a still life image? This would be the foundation of the project and focus.
Instagram - @amy_pritchard_photo
Outside the Walls
‘Outside the Walls’ is a set of black and white photographs which explores the contradiction between the busyness expected within the city, and instead focuses on the simplicity found in the surrounding everyday architecture. Although the structure of the buildings may appear simple, the way it is portrayed in ‘Outside the Walls’ will show it’s abstractions through higher black and while contrast. This project shows how composed the places are that we often perceive as busy due to our fast pace lifestyle. The photographs in this series display subject matter in a way that encourages the viewer to observe it aesthetically, taking pleasure in surface value.
To Express and Stay Hidden
The use of flowers within this work evokes unexpressed feelings. The fog created within each photograph gives an abstract effect. This creates a shield, which I am expressing through this work, giving the illusion of protecting the emotions I find difficult to talk about. This work captures my way of dealing with the struggles of life through a process of exploration and reflection. I aimed to understand the camera-less photographic techniques to find a way to develop and to create images of flowers to use as symbols for emotions.
Parish is a photographic series dedicated to the documentation of rural churches; situated around various locations in the Midlands. The series focuses on the unique architectural structures of these buildings; showcasing the vast differences between these hidden capsules of English history. These buildings appear to withstand the test of time as many have been rebuilt, repaired and modified over time; which bears testament to England’s dedication to the preservation of its history in this ever-developing society. The overall aim of this piece is to create a visual connection between these separate structures; thus forming a relationship between these independent subjects which would otherwise not exist.