Maisie Marshall · British Rodeo Riders


The British Rodeo Cowboy Association is a small group of riders who are based around Britain and follow the style and culture of western riding. Most have worked on ranches in America and Canada, gaining insight into what it is like to be a real working cowboy or cowgirl. 

The British Rodeo Cowboy Association was set up in 1998 as the only organisation in Great Britain that caters for all western riding disciplines. The riders created the association so that they could relive the freedom and work that they found so exhilarating in America and bring it back to Britain. Other organisations set out to specialise in one form of western riding competition or another but the British Rodeo Cowboy Association is the only association where members are encouraged to try all aspects of the sport – from working with cattle through Reining, all the show classes to Barrel Racing and other mounted games.  

The association has created a subculture of western riders in the UK, inspiring the younger generation to take up the life style of a working cowboy or cowgirl. They have become so engrained within the American way of life that they have started farming and herding cattle across Bodmin moor and Dartmoor, instead of using modern farm machinery. This project looks into the lives of the riders and the events that they attend to identify western riding in U.K.

Maisie Marshall is a documentary photographer working between London and Cornwall. Her social documentary work explores how photography can be used as a tool to help reinforce a bigger impact for her subjects. While she also works on more lighthearted documentary projects that explore British peoples identity with society through unexpected hobbies.



Izzy de Wattripont · Waterpolo


 “Still, I freeze as if anticipating the still I am about to become..” - Craig Owens 

The images in the series ‘Waterpolo’ are a small selection from a number of sittings Izzy De Wattripont produced with various Water polo teams. Whilst shooting Izzy was thinking a lot about performance. The performative nature of photography, the performance of our gender and identities, as well as thoughts about about how different this performance is when we are confronted with a camera. Are we more inclined to engage or shy away?

This work revolves around interaction, the interplay between the players and the photographer. It was never about the Water Polo itself, but how the players bodies responded to the camera and how they performed having left the safety of the swimming pool.

Born in London, raised in the New Forest, Izzy de Wattripont is set to graduate from the BA in Photography at the University of the West of England in 2019. Her works explore issues of identity, youth and belonging.



Suzie Howell · Inside The Spider


Inside The Spider is a project based on Walthamstow Marshes, East London, one of the last natural wetlands in the capital. Suzie Howell started working on this project in mid 2014 when she moved to a flat on the edge of Walthamstow Marshes in Clapton. Over the following three years, Suzie visited these marshes on a regular basis and explored her own personal and changing relationship with this area.

“Many of the photographs are a study of the unperturbed, beautiful landscape that I often wondered alone, others portray my sculpted reinterpretations of objects found on the marshes”.

The objects Suzie photographed ranged from mattresses and lanterns left over from a free party, to bits of material that had once been used as a shelter by someone who lived out there. She also re-sculpted and photographed a lot of flora and fauna in the area, such as a dead bird and an uprooted giant hogweed.

Suzie photographed these things either where she had found them or moved them somewhere else and re-sculpted them into the landscape. She wanted to repurpose a lot of the pieces she had found into objects that felt more personal to her, and in turn gave the discarded object a new lease of life.

Suzie began incorporating female figures into the images after the summer of 2015, when there were several attacks on women on the marshes. She decided it was no longer safe to go there alone and began taking friends with her, who then started being used within the constructed narratives. A lot of the images she began taking were of women looking vulnerable. Suzie had not meant for the project to go down that path and had tried to steer away from these helpless images in the final edit, but didn’t want to totally ignore this factor of female vulnerability as it was a feeling she had often felt out there, even before the attacks.

There is a troubled side to the beautiful, natural spectacle of the marshes and that contrasting feeling of darkness and allure become the basis of the work.

Suzie was born in Bristol, UK. She now lives and works in London as a photographer. Last year she had her first solo show in London and recently had work included in the group show ‘The New Vanguard Photography Prize’ at the Aperture Gallery, New York. Her solo show ‘Inside the Spider’ was selected as one of Max Ferguson’s ‘Best of 2017’ for British Journal of Photography.



Sadie Catt · Woodstock


Woodstock, focuses on the inhabitants of a small city and its surrounding area in Ontario, Canada. For over a decade Sadie has immersed herself in North American culture through regular visits. Her response is that of an inside-outsider, formed through family connections and an evolving sense of the place. The work is inspired by themes of immigration, colonialism and history through the personal experience of family members; her own reactions to a partially realised promise of a new life. Woodstock is a creative response to the social dynamics and cultural identifiers of a place known locally as ‘The Friendly City’. Linked through maternal ties to the artist, the work is rooted in a personal exploration of her family’s traumatic past and its lasting effect.

Sadie Catt photographs intimacy and relationships through a documentary approach to everyday life. Inspired by themes of maternity, identity and a female perspective, Sadie creates a personal connection between subject and viewer through the use of naturally lit portraiture, landscape and detail.



Clare Gallagher · The Second Shift


The Second Shift is the term given to the hidden shift of housework and childcare primarily carried out by women on top of their paid employment. It is physical, mental and emotional labour which demands effort, skill and time but is unpaid, unaccounted for, unequally distributed and largely unrecognised. 

Hidden in plain sight and veiled by familiarity and insignificance, the second shift is largely absent from photographs of home and family. This work is an attempt to recognise the complexity and value of this invisible work; it is also a call for resistance to the systems which ignore it.

Clare Gallagher is a Northern Irish photographer, whose work focuses on the ordinary, everyday practices of home. A photography lecturer since 2003, Clare is course director for BA (Hons) Photography with Video at the Belfast School of Art, Ulster University.



Thomas Duffield · The Whole House is Shaking


Thomas’s home was a static caravan that sat quietly in a field with walls entangled with Ivy, on a small farm where his mother and father began to raise Thomas’s sister and him. During this time, Thomas’s father struggled with a heroin addiction. However difficult it may have been at times for Thomas’s mother and father, to his memory they had a charmed life growing up. As a child, his father’s addiction was not discussed and after he left, years passed with little contact. Only now does he begin to understand the complexities of his parents relationship. Thomas now meets with his father regularly to offer support as he undergoes a detox. When they meet up they talk about nothing in particular. 

Thomas Duffield is a photographer working mostly in the North of England & London. His personal work offers a quiet look into his domestic landscape. The project has recently been featured in the British Journal of Photography, shown at the Unveil’d photobook awards 2018, and also at Theprintspace gallery as of November 2018. The Whole House is Shaking has been published by Tide Press.



Matthew Thorne · The Sand That Ate The Sea


In conjunction with the filming of a mythic film, Matthew Thorne spent six months with the community in the South Australian Opal mining town, Andamooka.

"The South Australian desert is a mystical place - millennia ago it was an ocean, and opalised aquatic dinosaur fossils are still found in the dirt there today. It is home to an arid land, and deep, old magic. A land of endless sweeping salt flats, and undulating flat red earth. 

This is where the frontier is, and the last of the great Australian frontiersmen call it home.

All deserts have stories..."

Matthew's work is focused around the relationship between people, land, mortality and spirituality. He feels "there is some interplay between self, place, life and time in that act. That the capturing of something, the storing of it, the documenting of it is inherently kind of some form of magic. That we can freeze the world as it was. And that in doing that not only see this moment, but see one particular view of it" and if he didn't take photos he would "probably be a cab driver - just for the stories and the people".


Harry Flook · Beyond What Is Written


"There is a strong divide between the conservative and liberal Christians in Tennessee, but the non-religious community is so small that it is completely overlooked” - Tad Beaty, Chattanooga Humanist Assembly

Beyond What Is Written was created during a month spent photographing various non-religious communities in Tennessee; the ‘heart of the Bible Belt’. The series explores the presence of religious imagery and rhetoric in the South, and the portraits picture a relationship defined by shared absence from religion. The project is about the loss and regaining of community, and the changing religious landscape in America.

Harry is a photographer and writer, who recently Graduated from Bristol UWE. His work explores subjects borne out of his own experience, a personal investment that has taken his projects in various directions.



Sian Davey · Martha


‘Why don’t you photograph me anymore.’ This is what Martha said to me in response to my camera being focused so often on her sister Alice. It took me by surprise. I wasn’t aware that she would care, but clearly she did. The work began when Martha was 16 years of age, a time when a child is on that cusp of being and becoming a woman. It’s a particular period of time, when for a brief period you are both a young woman and child in the same body, before the child leaves and the young woman stands on her own to meet the world.

It’s a complex and potentially confusing time. During this period of transition, there is a very short human space when a person can behave free of the weight of societal expectations and norms. Before long that window closes and we can easily forget how it felt to be ‘untethered’. 

But the work is also, inevitably, about Martha and myself. I am always there as the photographer, as her step-mother, mentor and friend, but where I am and where I place myself become a more questioning issue as she grows and moves further away from her childhood. The exchange of looks between us, that complex reflected gaze, begins to shift as she tries to define her own sense of self, to decide who she is becoming.

Though it is through the process of working together in this series so far, we have journeyed into each others psychological landscapes as we explore what our relationship means. We both mirror each others maternal wounding, both our mothers loved us but were felt as absent, this became the common ground to move forward from. 

And then there is the young woman shaping herself as a social being. Her group of friends are a safeguard, a source of protection as she moves into this new world. But this new family is also a new learning ground where she first begins to make sense of how she understands the psychological and existential territories of intimacy, love and belonging. And here, too quickly, the idyll becomes infused with all the tensions of adulthood.

Sian Davey is a photographer with a background in Fine Art and Social Policy. Her work is an investigation of the psychological landscapes of both herself and those around her. Her family and community are central to her work. 

Martha is available to pre-order now via Trolley Books



Rory Fuller · Off the Old Spanish Trail



Just off the Old Spanish trail outside Tecopa, CA lies the Amargosa Basin. The landscape is dotted with old gypsum mines and abandoned homesteads which once thrived due to the only free-flowing river in the Mojave Desert. Evidence of industry isn't always obvious, it leaves behind traces, yet the ancient mud hills and mesquite trees conceal the old West in a mask of golden bronze and green.

I spent two weeks working and living on a date farm in the Mojave Desert last fall. On my time off I would follow coyote trails through the canyons, down riverbeds and across the plains; photographing this unique wilderness and those I met along the way.

Rory is a photographer based in Brighton, UK and a recent graduate of Nottingham Trent University. Naturally curious of anthropology and our turbulent relationship with the environment, particularly interested in post-industrial places and how the land persists and adapts when industry packs up and moves on.



Jeroen De Wandel · Ensō


As long as men live, they tried to find a universal declaration of everything. In Japanese, one of the words who try to express this feeling is ensō. The ensō symbolises absolute enlightenment, strength, elegance, the universe, and mu (the void). It is characterised by a minimalism born of Japanese aesthetics. In Zen Buddhism, an ensō is a circle that is hand-drawn in one or two uninhibited brushstrokes to express a moment when the mind is free to let the body create. The circle may be open or closed. 

With this series I was searching for some kind of universal declaration of everything too, a blueprint of life, starting out from my own perspective and trying to find images that have more than one layer and that can generate different thoughts by who is looking.

Jeroen is an Belgian photographer who works with appropriated and original images to create his own visual world / collages.



Dan Mariner · Drake's Folly


Hydrocarbons. Arguably our planets most valuable commodity, produced by millions of years worth of organic matter fermenting under a combination of extreme heat and pressure deep beneath the surface of the earth. The result a thick black liquid, known today as crude oil.

In the early 1800’s, in Northern Pennsylvania after the emergence of stories of this black liquid seeping from the ground, the then fledgling Seneca Oil Company sent Colonel Edwin Drake to the area in search of this elusive substance. Drake, a retired railroad worker from New York, selected only because he had a free rail pass was tasked with pioneering a reliable method of extracting this liquid in the hope it could be used for lighting homes. Drake accepted the task and set about finding a solution as quickly as possible. But of course, it was never going t be that easy.

Obstacle after obstacle thwarted Drake’s attempts, from collapsed drilling wells, impenetrable bedrock and abandonment by the very company who sent him on the search in the first place. After painfully slow and seemingly unproductive progress was being made, many of the areas residents would gather to mock and jeer the site of operation, dubbing it “Drake’s Folly” but after much ridicule, on the 27th of August 1859 in Titusville, Pennsylvania and at a depth of 69.5 feet, Drake’s drill made its first full extraction from deep under the bedrock. Unbeknown to him, Drake’s drilling method would not only establish the modern petroleum industry but enable America and the rest of the world to kick-start an industrial revolution never seen before and radically transform the evolution of human civilisation.

As news quickly spread of this lucrative new market, Titusville experienced a boom as has only been seen during the early gold rush in the west. In the space of a few years, the population swelled from a few hundred to over 8,000 people. Scores of entrepreneurs swarmed into Titusville and almost over night, townships were named. Oil City, Franklin and Pithole sprang up, teeming with prospectors hoping to make their fortune. At its peak, the Pennsylvanian oil industry supplied well over half of the world’s oil supply before the discovery of vast oil reserves in Texas and the world over.

Today it is particularly striking that the valleys and forests, once stripped bare and exploited by the industry, have now been reclaimed by nature. The area is now teeming with wildlife. Flora and fauna are slowly erasing the remnants of pipelines, rusted machinery and abandoned wells. This is a true testament to the incredible regenerative power of nature and its ability to heal itself over time. Today, retracing the steps of the early oil industry, it is hard to imagine the massive feat of human endeavour that took place over 150 years ago.

Dan is a British photographer based in Northern Norway. He studied documentary photography at the Magnum affiliated Newport University in South Wales. His main photographic interest lies in anthropology. Within that, he seeks out themes that explore how humans interact with their surroundings and how modern infrastructure and ideology coexists with the natural world.


Amy Spires · Left Behind


"Over the years I started to notice a pattern in my work that I didn’t even realise I was creating. It became obvious that I had a love for structures, especially ones that had been left to decay. I decided to run with this natural progression and start the series ‘Left Behind’. Places that were once filled with light and life are left to be taken over by nature, vandalised or to simply rot. 

There’s something in this neglect that I find I’m magnetised to and urged to document, just incase one day these buildings are knocked down and lost for good". 


Tommy Sussex · What Takes Hold


Opening on the eve of the 2015 General Election, ‘What Takes Hold’ looks beyond party politics to explore alternative formal and informal systems of power. It investigates what happens below the surface and just around the corner in places and communities that are generally considered not at “the centre of things”- geographically, socially or economically.

What photographer Tommy Sussex quietly hints at, and invites us to discover for ourselves, are patterns of exchange, micro-hubs of activity, anticipation of actions and purposeful movement around a both urban and (almost) rural landscape. From the matriarchal organizing power of the bingo hall, to the community spirit embodied in collective endeavor at the local Slimming World, the images reveal a community moving, living and negotiating its own terms of engagement. 

The photographs were taken in Knowle West, a neighbourhood of around 12,000 residents on the Southern edge of Bristol, which was created in the 1930s following slum clearance in the city centre. The workers who built this pioneering new community had a nickname for the estate- “5000 island forest”, referring to the fact they were building 5000 homes surrounded by forest. Sitting on a hill, Knowle West retains a sense of separation from the city today, but that pioneering spirit continues with strong familial and social networks built up over the years that offers its community a strong sense of identity, and often practical solutions and everyday support.

Some of these photographs might suggest absence but perhaps an alternative reading would be that they capture the moments just after a period of intense social activity or conversation. 


Nicholas JR White · Black Dots


Black Dots is an exploration of mountain bothies and bothy culture throughout the United Kingdom. Far from civilisation and mostly accessible only by foot, bothies are secluded mountain shelters scattered across the British Isles and tirelessly maintained by volunteers from the Mountain Bothies Association. Unlocked and free to use, they provide a refuge from the vast terrain that surrounds them and have become an iconic feature of the British landscape over the past fifty years. Bothies are synonymous with the outdoor experience in the UK and from day trippers to mountaineers, the growing community of bothy-users is hugely diverse. Black Dots is the result of almost three years spent traversing our most remote landscapes in an attempt to better understand what these buildings are, where they’re located and the culture that surrounds them. Drawn not only by the primitive beauty of the bothies and the landscapes they sit within, the work also investigates the human element to the bothy story, capturing the faces of those who trek for hours to temporarily inhabit these spaces, many miles from the nearest settlements.

Black Dots is published by Another Place Press and can be purchased here


Alexander Mourant · Aomori


Aomori meaning “blue forest” in Japanese, is a synthesis of two existential ideas: the forest and the nature of blue. By combing these phenomenologically charged subjects, I create a place of high intensity, a place which exudes a life force and questions our relationship to time, colour and self.

Previously, through my photographs, I employed atmospheric conditions such as humidity, alongside tropical flora and fauna enclosed in artificial spaces, as a metaphor, for elsewhere. Through Aomori, I have expanded these territories to the ancestral forests of Japan. It is the presence of the forest and the density of its nature, which arrests for us, the relentless progression of time. It is peculiar how forests have such an affect on us. In our mind’s eye they exist continually in the past. Perhaps, it is the canopy of the trees which shelter us from gently falling light and the intoxication of time and duration. As temporal dimensions crumble, objectivity leaves us. We are found in a still, oneiric state, contemplating our own accumulation of experience.

Aomori | Solo exhibition | Thursday 1 - Sunday 4 February

Opening Night | Thursday 1 | 18:00 - 22:00 

Shop 11, The Old Truman Brewery, E1 6QR

Supported by Free Range, Metro Imaging, ArtHouse Jersey and Arts Council England.


Cameron Williamson · A Mask is Not a Mountain

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We are standing alone in the field, a sky unable to rain. She is explaining to me how the eagle on the end of her bare arm is isolated to molt in an aviary for several weeks of the year. A large camera is pressed firmly against my chest as the bird looks away indifferently, turning its head to study everything on the clear cut lawn and the farmland beyond. I recompose to place the bend of its shoulder into the centre of the frame. Adjusting to accommodate for its movements that punctuate a rhythmic refolding of wings I cannot anticipate.

Pausing to draw my focus from the viewfinder, she tells me that cloaked in isolation their characteristics change, tending away from what is learnt, their behaviour begins to regress by unbinding the line that designated their actions. 

I assume that the eagle won’t remember her, mentioning something I once read about the nature of goshawks, but I hear unconvincingly that they usually do. The bird will lose its precision in the absence of the falconer, successively marking out that territorial line around the limits of their character. Made through positive reinforcement, she emphasises, shifting her weight slowly to the opposite leg with her arm locked still. Yet given enough repetition by the falconer, the bird will learn these movements, manipulating the routine that was constructing the limit of its actions.

The bird mantled on the clasped glove is observing something past the falconer’s head. Thickets surrounding groups of tree, furrows meeting the sky. It seems to be gaining mass with my persistent questions, I can’t comprehend its weight, carrying a camera of metal and glass, feathers don’t seem to constitute matter.

Turning back up the path towards the eagle’s enclosure, with the bird now between us, she tells me that being solitary creatures they fail to understand hierarchical dominance, meaning that the conditioning of a bird relies on a huge number of variables. Still, it is said by some that by pushing against the resistance of the falcon, that the man and bird can exchange characteristics, unfolding into one another. 

As I pack the camera into a bag, the roles of recognition and misrecognition are now undefined, as these images will become a way of measuring oneself against another figure, even if the subject has turned to retreat they will never come into alignment. Perhaps this is how distance must look, outside of the clarity that the eagle sees, it is an indifferent scale, unfixed but ripe for judgement. 

In the cage I see human footprints punctuating the sand, raked into lines and beaten blunt by absent wings. So as bird and trainer step into the tapering dark of the aviary, her voice has drawn a circle, a divide between bird and me, a cascade of wing feathers tightening into her body.

Vaud, Switzerland, 2017.

Cameron Williamson is an artist working with text, image and video based in the UK and Switzerland. Recently he has been working with the role of the individual in an alpine landscape, enquiring after notions of a body shedding space through ritualistic visual practices. This forms an ongoing critical interest in the human figure as a body reliant on orientation and recognition.

Notes on features contemporary photography accompanied by creative writing. 


Harry Lawlor · Everybody is Going to Heaven


These photographs were made on the Mani Peninsula at the southern tip of the Greek mainland. It's an ancient area of which's roots can be traced back to Homer's "The Iliad". I approached making the work by letting go of any preconceived ideas that I may have about the place, allowing my subconscious mind to guide the image making process. I found this particularly liberating, each time I went out with my camera each venture became an almost meditative ritual, allowing myself to be present in my body in these new surroundings. The resulting photographs are a record of these meditations on a foreign landscape.


Bookshelf #02 · A Year of Light · James Meredew


'A Year of Light' is a series of images taken from Autumn 2016 to Autumn 2017. Shot entirely in black and white and in the U.K, the series takes a closer look at encounters with light over the year as the seasons and my locations change.

60 pages | 300gsm Silk Cover | 170gsm Silk inside pages | Edition of 100

Purchase here