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Overly Blueish

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Overly Blueish

Overly Blueish, a final degree show by the photography students at Swansea College of Art UWTSD

16/05/2023

KATIE NIA

Impressions

Nia’s body of work Impressions capture ‘the aura and essence’ of significant moments from the past that symbolise the tacit connection that she and her mother have. Through an exploration of indexical material processes, this body of work depicts hauntological traces that permeate through family histories.

08/05/2023

JAMES PEAPLE

James Peaple’s work aims to creatively explore relationships between memory, identity and place. In doing so, he seeks to consider how cultural connections between people, their locations and objects develop and are communicated through image to audience.

Peaple’s practice is based on experimental techniques, using the image to transport the viewer to different periods or fabricated realities. These relationships have been most recently considered in an exploration of how the ‘ugly, lovely town’ of Swansea shaped Dylan Thomas’s identity as an artist, re-interpreting the places that resonate throughout his work.

03/05/2023

Sophie-Mai Pemberton

AFTER

Through a process of image juxtaposition and book construction, Pemberton’s work questions the aesthetics of memory and trauma, and explores their connection to the fundamental context of society. This narrative driven work explores personal trauma through a relationship between memory and photography. Processing existence through the peculiar eye of an autistic individual, Pemberton utilizes archival and contemporary image-making techniques to explore photography’s potential as a therapeutic tool. The work reflects a woman’s expression of time filled with the complexities of space and history.

30/04/2023

FFION EDWARDS

Perfectly Imperfect

Perfectly Imperfect explores society’s standards of ‘Beauty’ and how it affects people’s self-confidence and mental health. Growing up in a social media predominant era where beauty standards are constantly changing, Edwards chose to use self-portraiture because it is something that she has been personally affected by. Forever conscious of how she is looked at and viewed by others, she has photographed herself in ways that are typically shown across the beauty industry, expressing vulnerability in a world where people feel like they need to hide who they are and how they feel, and demonstrating that there is no one way to define beauty.

27/04/2023

Emma Spreadborough

You Mustn’t Go Looking

After the Brexit tensions of 2021, the results of Northern Ireland’s census revealed a shift in the current identities of Northern Ireland. The election of a new party to minister and a nearly 50/50 ratio between both parties presents the possibility of a fragility to the border in the North.

Brian Friel’s play, Dancing at Lughnasa, explores Ireland’s mix of religion and politics and how these factors play out within the home. He uses the indoors as an analogy for safety, structure, and control. Outside of the home, the landscape is referred to as dangerous and Pagan.

For the body of work, You Mustn’t Go looking, Spreadborough draws inspiration from Friel and searches for the magical past of Ireland’s culture. Seeking answers through her upbringing and the elicitation of the supernatural in Northern Ireland’s mythical landscape.

26/04/2023

Derek Hughes

Remembering the Present

Using still photography and moving image, Derek Hughes explores themes of memory, melancholy, history, and trace. By exploring his own past, alongside the history of a small local chapel, Seion, of which he is the custodian, Hughes creates a visual representation of history’s fragmentation.

Throughout the process of making this body of work, the chapel has become a material reflection of self, having once flourished with excitement and optimism, now tainted by a sense of melancholy.

25/04/2023

Sarah Grounds

The Links Project

Sarah Grounds’ ongoing body of work The Links Project explores the structures in our society from a perspective which is at once personal, political and universal. Drawing on aspects of social ecology and permaculture, alongside Deleuze and Guattari’s concept of the rhizome, she investigates ideas of isolation, freedom and connection. Incorporating installation, still images and performance, this transdisciplinary practice challenges and celebrates the links we have with everything and everyone around us.

22/04/2023

Charlie James

Not Waving but Drowning

Not Waving but Drowning is a project that explores how long you can hold a smile before you physically cannot take it anymore. Social media consistently shows people smiling, creating the illusion of happiness, when in reality they may well be struggling with life. This illusion of happiness is not vital to a healthy life. Exploring the idea of people putting on a smile to hide how and what they are truly feeling, this project explores the detrimental effects of the social stigma surrounding depression and poor mental health.

Title taken from the poem Not Waving but Drowning by Stevie Smith (1972)

20/04/2023

Lucy Beckett

Where One Stands

Drawing from the experience of the aftermath of the pandemic and the experience of lockdown, Where One Stands is a photographic project that addresses ideas of family and heritage. The work is a photographic conversation, a collaboration, documenting relationships and exploring familial aspects that shape our identity and offer us a sense of place. Where One Stands is made with an instant analogue camera, which not only accentuates intimacy but also navigates the documentary process through a sense of feeling and direct connection.

19/04/2023

I would like to introduce the artists who are going to be exhibiting.
Firstly the Documentary Photography and Visual Activism students.

Ernest Salisbury

Fluorescent Habits

As Ernest walks the streets and byways of Swansea City, he aims to document fleeting moments that are otherwise lost, taking on the role of the ‘flâneur’. With no direction or location in mind he is the acute observer of contemporary society, bearing witness to each moment.

Each image may either capture the day-to-day hedonism of life, the mobile hyperreality imposed on us by society, but also the liminal spaces that fill our lives, the unnoticed phenomena and moments that seem still, contradicting the fast pace at which people live their lives.

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Swansea College Of Art
Swansea
SA13EU

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