Scarlet graduated in BA Photography at London College of Communication in 2005. She is completing a PGCE in Secondary Education at Goldsmiths. She recently travelled to New York and Rio de Janeiro to continue her exploration of how some major cities are increasingly suffering from, and being associated with, social problems such as gun crime and economic/social deprivation.

Simon Rowe’s photographs, part of a larger project about the Pepys estate, present a portrait of a South East London housing estate as it moves into a new era.  The project reflects a sense of the multiplicity of human and social relationships against a backdrop of social change and regeneration.

Isidro Ramirez’s interest stems from differences in sensory perception. Sighted people are often unaffected by some visual aspects of their world. Using photography, Ramirez tries to expose this paradox by illuminating the spaces in which blind people live and work.

The images were made along the Hudson River in Manhattan between Canal and 65th Streets in areas that were part of New York’s once-vital shipping industry and railroad transportation system. They contain remnants of the deteriorated maritime piers, piles that supported the piers, original railroad structures, as well as recent constructions that are part of the new Hudson River Park. Across the river, at the horizon line in some of the photographs, other historical structures can be seen in New Jersey such as the Erie Lackawanna Railroad terminal in Hoboken and the Colgate Clock in Jersey City.

The architectural elements in the photographs conjure history of more than a century ago. A vast cultural shift is implied and the suggestion of evolution and change is imparted.

“The river and the architecture on its shores have been subjects in art and literature for nearly two centuries. In the mid-1850s, photography took the place of artist-produced prints of river scenery as well as natural and cultural landmarks. Some photographers followed the practice of their contemporaries and made images of romantic scenes while a greater movement happened towards documentary and action-based imagery. River continues this tradition while integrating a personal layer of meaning. Though the work examines impermanence through historical urban architecture, it is inspired by experiences related to mortality and individual loss.” Janelle Lynch

Janelle has an MFA in Photography and Related Media from the School of Visual Arts and a BA in Liberal Arts from the New School for Social Research, both in New York. Recent solo exhibitions include Centro Cultural Banco de Brasil, Brazil; Galería 3 Punts, Barcelona; RO Galería de Arte, Buenos Aires, Argentina; Gallery 44, Toronto and Blue Oyster Art Gallery, Dunedin, New Zealand. Her photographs have also been featured in group exhibitions at the George Eastman House Museum, Rochester, New York; Festival International de Mode et Photographie à Hyères, France; Museum of Contemporary Art, PhotoEspaña (Descubrimientos), Madrid.

Janelle’s work is in numerous public collections including the Brooklyn Museum; George Eastman House Museum; Museo de Arte Contemporáneo de Salta, Argentina and Villa Noailles, Hyères, France alongside private collections in North America, South America and Europe.