Annual Member’s Photography Show 2011
ANNUAL MEMBERS’ PHOTOGRAPHY SHOW 2011
25 NOVEMBER 2011 – 27 JANUARY 2012
Photofusion’s Annual Members Photography Show is gaining a reputation for showcasing a diversity of approaches and genres from photographers based in London and further afield. This year continues the collaboration with Hotshoe Magazine which includes the “Hotshoe Photofusion Award” which will be presented on the opening night. The winner will receive a double page spread in the February issue of the magazine, a free annual subscription and an interview on the Hotshoe Blog. The public will also have a chance to vote for their favourite photographer, who will receive the “AMPS/11 Public Choice” at the end of the exhibition.
This year attracted more submissions than ever before from Photofusion members, and the final selected photographers show a certain amount of experimentation of the photographic medium. Chloe Sells prints her images of landscapes, both exotic and familiar, in the darkroom, folding the paper and layering the print with prisms to create bright washes of light. Each print is a unique, almost apocalyptic landscape. Jeremy Akerman manipulates landscapes by cutting his prints and rearranging the pieces, rebuilding the image in order to question perfection and reality in traditional landscape photography.
Judith Lyons combines analogue and digital technologies to create complex, geometric patterns of found images of sperm, ova and embryos which invite the viewer to consider the nature of both the reproductive and photographic processes. The whole work is a grid of nine images, representing each month of gestation. Digital techniques are also employed on found images in Eva Stenram’s stand alone print, Drape. This old pin-up photograph is manipulated to alter how we view the image; rather than being able to peek into the intimate, private world of the subject, the image becomes a geometric formal set of shapes.
Analogue photography continues to feature heavily in AMPS/11, firstly in Clara Turchi’s series of black and white prints of enlargers in the process of a long exposure. The graphic shapes of shadow and light transform these old and soon to be obsolete machines into futuristic robotic structures. Eddie Otchere’s lith prints of the Ghanaian market of Kaneshie are a document of everyday life in a rapidly changing historical environment, which draws interesting parallels with Brixton market in which Photofusion is based.
Street life is represented by Alison McCauley who creates classic black and white images of the streets from an elevated position. Seeking locations with a strong graphical component, and then waiting for a single individual to punctuate the frame, McCauley’s photographs emphasise the anonymity and frequent isolation of humankind in the urban environment.
In contrast, Guy Bell’s photojournalistic pictures of the protest against tuition fees show the streets from a political level, as the images portray the frustration and disillusion of young people in the current climate.
Young people are depicted in Jo Phipps’ series Grace be said in the Supermarket, a series of portraits depicting young supermarket workers, still in their uniforms, at home. The portraits are intended to pose questions about individuals and their place within a category or a group, especially the effect of the uniform and how it affects our judgement.
Salvation is a series of headshots of men having water thrown over them by photographic collaboration Picle. The final stand alone image in AMPS/11 is Chloe Precey’s image of a dove, flying off into the distance. The image is part of a larger body of work which depicts the fleeting beauty of the natural world.
Photofusion established its membership scheme in 1992 and has supported many award-winning photographers.