Nae Bunthita,  M. Imaku, 2008



















































Petros Chrisostomou
Context, 2006-08

Zhao Renhui, The Blind, The Institute of Critical Zoologists, 2007

Zhao Renhui, Torijon Grasslands, 2008

This issue features Zhao Renhui’s intriguing and ironic series The Blind, a critique of scientific depiction of animal and human difference. Aiming to straddle truth and fiction, The Blind involves an ‘invisible’ cloak developed by zoologists for the purpose of viewing animals. The work challenges how we observe nature and notions of truth and objectivity in both science and photography.

Sze Tsung Leong, Via dei Fori Imperiali, Roma, 2007

Gayle Chong Kwan, Les Précieuses

Sze Tsung Leong’s series Horizons depicts expansive views of a broad spectrum of environments throughout the world, distant in geography and diverse in subject matter. Placed side by side, the images form an extended landscape and reflect the complex and perpetually transforming relationships between regions, cultures and nations. Gayle Chong Kwan continues her two-year critique of ‘The Grand Tour’, an exploration of tourism, master planning, waste and landscape traditions within fine art. In Les Précieuses she highlights abandoned remains of food in the Streets of Paris, which are then carefully collected and dried before being reconstituted as a ruined cityscape in a second series, Paris Remains.

Veronica Bailey, Hours of Devotion, 2008

Veronica Bailey’s Hours of Devotion is an exploration of the library of philanthropist Angela Burdett-Coutts, established in the early 19th century to improve the welfare and conditions of employees at Coutts & Co., one of London’s oldest and most prestigious banks. The series presents a portrait of the literary, political, social and religious aspirations and concerns of a metropolitan middle-class. Trish Morrissey’s new series Front continues her practice of appearing in her own photographs. This group of performative collaborations, produced at beaches in England, explore the family unit and how we are seen by others.  Stella Santacatterina introduces the work of Italian artist Guendalina Salini, who trained in London, in a discussion of her video installations, photographs and films.

Trish Morrissey, Katy McDonnell, October 5th, 2007

Guendalina Salini, Pesce fuor d’acqua (Fish out of Water), 2004

Also featured in this issue are portfolios from some of the most accomplished recent graduates in photography and photojournalism: Derek Mossop’s photographs of America show a scarred terrain of industrial disorder; Matthew-Robert Hughes explores the photograph as object; Admas Habteslasie presents photographs from Eritrea; Mariah Skellhorn comments on unsustainability in food consumption; So Young Park’s series Flatline represents divisions between two contrasting sides; Jamie Tiller’s photographs of Tokyo explore marginal architectural space; and Susanne Ludwig, Becky Beynon and Petros Chrisostomou present real and imagined interiors.

Gloria Chalmers

Derek Mossop, Landscapes in Transition, 2007

Matthew-Robert Hughes, This-Has-Them


Zhao Renhui The Blind
Paul Tebbs  Essay 

Sze Tsung Leong Horizons
Duncan Forbes  Essay

Gayle Chong Kwan ‘En Route’, The Grand Tour
Laura McLean-Ferris  Essay

Veronica Bailey Hours of Devotion
Ashley C Givens  Essay

Guendalina Salini
Stella Santacatterina  Essay

Admas Habteslasie, Refugee Camp, Senafe

Mariah Skellorn, Convenience Food, 2007

Derek Mossop Landscapes in Transition

Trish Morrissey Front
Camilla Brown  Essay

Matthew-Robert Hughes This-Has-Them

Admas Habteslasie Limbo

Mariah Skellhorn Convenience Food

So Young Park, Flatline, 2007

Becky Beynon, In Between the Mop and the Bucket, 2008

So Young Park

Nae Bunthita Indhawong The Relocation of Culture

Jamie Tiller Black Box

Susanne Ludwig Grandmother’s Cellar

Becky BeynonIn Between the Mop and the Bucket

Petros Christosomou Context























Jamie Tiller, Black Box, 2007














































Susanne Ludwig,
Grandmother’s Cellar, 2008