Camberwell College of Arts: Degree Show 2013

15– 22 June 2013

Opening times:
Monday – Friday: 10.00 – 20.00 / Saturday: 11.00 – 17.00

Camberwell College of Arts
Peckham Road

Here is a taster for what can be seen at this year’s Camberwell College of Arts BA Photography Degree Show…

Emma Stewart: In Memory: Cil Domhnaigh, 2013

C-type prints in wooden display box

Emma Stewart Emma Stewart Emma Stewart

In Memory has grown out of an intrigue with ‘home’, attempting to understand the fascination and the draw it holds for me. I am interested in how space becomes home, and on a wider level, interested in the identity that a country like Ireland holds for its inhabitants. This extends to things like the roots of Gaelic place names and townlands, the materiality of the local landscape, subjective mapping and body memory; encompassing ideas of ritual and routine.
Drawing upon family archival photographs, walking and storytelling for inspiration, the ideas of heimlich and belonging have become central to my practise. I am particularly interested in the idiosyncrasies of home on a personal level within my family, as well as on a local and national level.

These explorations manifest themselves most clearly in my recent body of work, entitled In Memory, 2013. These c- type images depict threshold points surrounding my home, positioned within a wooden display box. Each threshold or boundary could be as physical as an object, person, or a particular place, or as intangible as a memory or imagination.

As the viewer navigates around the boxes, they are forced to interact with them. On one level the box is an investigation into the materiality of home. It is also part of an ongoing investigation into Heidegger’s concept of the Totenbaum- a tree-coffin integrated as part of the home, to remind its inhabitants of their ancestors and of their mortality. This piece reveals the relationships between people and place, through drawing on ideas of absence, presence and the fragile cycle of life.

Maud Craigie: Es me

Maud Craigie Maud Craigie Maud Craigie

C-type prints and series of film stills.

Es me is an exploration of what it means to look like someone. The photographs and film stills depict an encounter between a woman called Esme and myself. We are two strangers who have been told that we resemble one another. The series is an attempt to investigate the boundaries of the self: we oscillate between performing our own and each other’s identities for the camera. By swapping clothes and mirroring movements we seek to both reveal our similarities and confront the impossibility of fully appearing as one. This idea of duplicates and doubles also relates to the use of the camera as a mechanism that attempts to replicate pieces of reality.

Jess Johnson: Untitled

Jess Johnson Jess Johnson Jess Johnson Jess Johnson

My work is based around the process in which it is made. I tend to take a back seat in terms of traditional image making, instead using other more domestic items to create ‘photographs.’ The most recent, on going project, Scanner, Scanning (working title) is made by holding a mirror up to a flatbed scanner, so it is essentially recording itself scanning itself. The work is an attempt to highlight something which is already known, however futile that attempt may be.

Maja Theodoraki

Landscape Portraits

Maja Theodoraki Maja Theodoraki

My work deals with the experience of and interaction with the landscape. It explores the landscape not only as a physical space but as a psychological space as well.

Liam Magee

Common Houseplants

Liam Magee Liam Magee Liam Magee Liam Magee

Common Houseplants intends to explore the idea of commodification and displacement of plants which have become commonplace for a domestic environment. Each plant has been purchased photographed and then returned, by exploiting the sale and return policy the work has highlighted the commodity value of the plant and implied the throwaway nature it has acquired. The work situates the plants in a clinical setting implying the ‘aura less’ objects they have become and also reminding the viewer of the fascination they once were. By photographing the plants removed from their pots, now where they are most commonly situated, it has created a secondary displacement to highlight the first, that being a historical displacement through the removal from their country of origin.

For more info: