Luca Marianaccio · Spin Off

 
 

Shortlisted · Unveil’d Photobook Award 2018

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A spin-off is a derivative work which maintains the same scenario of the original work while focussing on parallel events and secondary characters.

Spin-off is a collection of six visual narratives, compounded by a selection of photographs from the past years (2010—2016). Six figures, accidentally encountered and rapidly captured in portraits, become subjects for fictional stories.

Each story is nothing but a fragment, a splinter, a projection of disintegrated pictures. It is subjectively decided through a random process in which physiognomy meets imagination.


Born in 1986, Luca Marianaccio graduated in Architecture in 2013.

Luca is an artist who works mainly with photography. Exploring the concept of landscape in a nostalgic way, he wants to amplify the amazement of the viewer creating compositions or settings that generate poetic images, which they leave traces and balances on the thread of recognition and alienation.

His works are based on formal associations, which open a poetic vein with images on several levels, where the fragility and instability of our apparent are being questioned ‘certain reality’. Underlining its aesthetics, it investigates the dynamics of the landscape, including the anthropological manipulation and the limits of our hypotheses on what the landscape means for we.

He has exhibited his work in festivals and galleries, his works have been published in well-known magazines international and acquired from public and private collections. Marianaccio now lives and works in Pescara, Italy.

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Daniella Gott · Joan

 
 
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Daniella’s Grandmother’s house is a place she’d visited many times throughout her life. As a result, her grandmother and her surroundings have become very familiar to Daniella, meaning she often doesn’t take the time to look around. By allowing herself to look and think about what actually surrounds her when there. Daniella started to realise she has so many different objects within her home that reflects who she is and how she identifies her Grandmother.  

The photographs included in this series are personal to Daniella’s Grandmother. However, some of the photographs can also be seen as a reflection of other people from the same generation who would share similar interests. As the work is viewed, it will hopefully allow the viewer to think about the little things that remind them of specific people in their own lives.


Daniella Gott recently graduated from BA Photography where I created 'Joan' as part of my final project. Currently Daniella is studying a Masters Degree in Digital Media, where she am researching and developing a new photography project. My interest within photography lie between the everyday and the mundane. By continuing to photograph my surroundings, I find that banal subjects are the ones that are the most intriguing.    

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El Libro Supremo de la Suerte · Rose Marie Cromwell

 

Shortlisted · Unveil’d Photobook Award 2018

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“Cromwell pays homage to a Cuba that she grew to love over nearly a decade of returning to Havana to make pictures. Her work quickly acknowledges its subjective/self-reflexive nature through a non-linear narrative that alludes to life's ‘luck of the draw,’ exploring some of the very real complexities of contemporary Cuba (including her own presence as an artist coming-of-age). Through a lyrical sequence of images of everyday rituals, she captures a Cuba that is multi-layered and continues to defy expectations. Cromwell’s photographs take us to a place that is, perhaps most of all, profoundly human—and through this, she expresses her belief that even intimacy is political.” 

- Shane Lavalette


Rose uses photography to investigate the effects of globalization at the intersection of the spiritual and the political. The foundation of her work is documentary tradition, using a specific geography to define a project. The location, however, is not a subject for her to document, but a stage from which to allude to larger concerns. Some of Rose’s images are found street scenes, while others are elaborate performances, which she mines for authenticity and moments where gender, action, race, and religion, become ambiguous. Rose wants the viewer to deconstruct perceived realities of the photographed scene. 

In her installations, Rose activates the space by varying the size and relative position of the photographs to reflect on her subjectivity as a photographer. She wants the viewer to question their relationship to the place, the people, and the materials in the images, and to the created space of the gallery.

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Andrea Urbez · New Jersey

 
 
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Andrea has spent the past six summers working at a summer camp in New Jersey, and has meet some of her closest friends whilst at the camp.

Each year Andrea tries to capture the summer as much as she can, with the knowledge that she will cherish the memories forever. The images are documents of her closest friends and treasured memories from this summer.


Andrea Aurbez is originally from Madrid, Spain but is now based in London. Her purely analogue photography ranges from documentary to fashion.

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Radici · Fabrizio Albertini

 

First Prize · Unveil’d Photobook Award 2018

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I’ve started by photographing my garden.
I was searching for something close to me.
Today I’m still taking pictures of my vegetable garden,
I can’t help it.
I was photographing Radici, only Radici.
I’ve driven my car up to the Cannobina Valley, the valley
where my grandparents have lived, where my mother
grew up, where I’ve spent my childhood.
I’ve done this because there I have a very beautiful garden.

Radici was a stream of consciousness that lasted for a couple of years from 2015 to 2017. Albertini started by taking pictures in his vegetable garden and the plants in his garden at home. He was looking for something close to him and he found it by telling about that moment. It is an autobiographical, plastic and free story. Is an instinctive and unconscious work but, never the less, logical and coherent. It is revealing.

Radici is a project born perhaps from naive themes, but it’s motivations were far from this. Radici is a project that was created as a self-analysis and, like for any self- analysis, it is not a theorem, there are no solutions. It's just a story.


Fabrizio Albertini (b. 1984) graduated in Film Direction and Production at the International Academy of Audiovisual Sciences CISA Pio Bordoni (Lugano - Swiss). His photographic series have been exposed, among the others, at Aperture Foundation, SK Stiftung Kultur (Germany - Cologne). His work has been shown at festivals including International Locarno Film Festival and the Solothurner Filmmtage. Alongside photography Albertini publishes the books ‘The Mecca of Coney Island’ (2014), ‘Diary of an Italian Borderworker’ (2016) with the publishing house Skinnerboox. And the book “Radici” (2018; Awarded for the Unveil’d Photobook Award) with the publishing house Witty Kiwi.

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Terje Abusdal · Slash & Burn

 
 
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Finnskogen – directly translated as The Forest of the Finns – is a large, contiguous forest belt along the Norwegian-Swedish border, where farming families from Finland settled in the early 1600s. The immigrants – called Forest Finns – were slash-and-burn farmers. This ancient agricultural method yielded bountiful crops but required large areas of land as the soil was quickly exhausted. Population growth eventually led to a scarcity of resources in their native Finland and, fuelled by famine and war, forced a wave of migration in search for new territories. 

The Forest Finns’ understanding of nature was rooted in an eastern shamanistic tradition, and they are often associated with magic and mystery. Rituals, spells and symbols were used as a practical tool in daily life; that could heal and protect, or safeguard against evil. 

This photographic project draws on these beliefs while investigating what it means to be a Forest Finn today, in a time when the 17th century way of life is long gone, and their language is no longer spoken.


Terje Abusdal is a visual storyteller from Norway working on independent projects in the intersection between fact and fiction. In 2017, his story on the Forest Finns – Slash & Burn – won the Leica Oskar Barnack Award and the Nordic Dummy Award. Two years prior he published his first photographic book Radius 500 Metres on Journal. His work was recently exhibited at Jaipur Photo Festival in India, Fotogalleriet in Oslo and FOTODOK in Utrecht. Abusdal lives in Oslo.

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Hieronymus Ahrens · City for the Blind

 
 
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On the outskirts of the Latvian capital, Riga, there is a ‘City for the Blind’. About two hundred blind and visually impaired people live here. There is a rehabilitation center, a library for the blind where Braille books are produced, a boarding school, a clubhouse and other facilities organised to the needs of the residents.

The community in the residential area provides a shelter, assistance and activities for the blind, but the residents also seem isolated from the neighbouring urban environment.


Hieronymus Ahrens is a professional photographer in Berlin. His field of work is portrait, documentary and fashion photography. In 2017 he graduated at "Ostkreuzschule für Fotografie", Berlin. In 2012 he received a Magister (M.A.) degree in Slavistics (Russian Literature) and History of Eastern Europe at Ludwig Maximilian University of Munich.

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Maisie Marshall · British Rodeo Riders

 
 
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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.

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Izzy de Wattripont · Waterpolo

 
 
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 “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.

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Suzie Howell · Inside The Spider

 
 
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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.

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Sadie Catt · Woodstock

 
 
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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.

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Clare Gallagher · The Second Shift

 
 
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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.

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Thomas Duffield · The Whole House is Shaking

 
 
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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.


@thomas.duffield
thomasduffield.com



 

Matthew Thorne · The Sand That Ate The Sea

 
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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".

matthewjjthorne.com
@matthewjjthorne

 

Harry Flook · Beyond What Is Written

 
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"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.

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@HarryFlook

 

Sian Davey · Martha

 
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‘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

Website
@SianDavey1

 

Rory Fuller · Off the Old Spanish Trail

 
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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.

Website
@roryfuller

 

Jeroen De Wandel · Ensō

 
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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.

Website
@jeroen_de_wandel

 

Dan Mariner · Drake's Folly

 
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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.

www.danmariner.com
@danmariner