Northern Light Northern Light: Landscape, Photography and the North Preface

northern light northern light: Landscape, Photography and the North preface:

The work presented here is an expression in book form of the exhibition ‘Northern Light’ curated by Michèle Lazenby and exhibited at the SIA Gallery, Sheffield Hallam University in July 2016 to accompany an academic conference of the same name hosted by Darcy White and Chris Goldie.

The aim of this publication is to represent the work exhibited and extend the discourse of both conference and exhibition through a considered selection and presentation of imagery revealing a range of contemporary responses to the northern landscape and its representation through photography.

Andrew Robinson introduction: Darcy White & Chris Goldie

Aileen Harvey from West From Here

Northern Light – Landscape Photography and and glaciologist; questions around representation has always been something distinct about visual Evocations of the North- was a conference and related of landscape, belonging and memory explored representations of the North and northerness: a exhibition held at Sheffield Hallam University, exploring through performance; wildness, memory and land cool light, a subdued palette, explorations of human the many ways in which photographic images address evoked through animation; and films scrutinising the activity and land-use that are, perhaps, particular to notions of a northern landscape – whether drawing digitally manipulated image of landscape. Similarly, northern regions. In recent decades contemporary on established traditions of art and photography or the exhibition was intended to encompass diverse photographic practice has continued to draw on this concerned with contemporary photographic and lens photographic practices, framed by the notion that the heritage through a range of approaches; perhaps most based practice. We invited papers and photographic northern landscape is a constellation of different things notably in its appropriation of the restrained style artefacts that explored or responded to the wide - geographical, environmental, perceptual, conceptual of early twentieth century European photography reach of the geographical north and exhibited work and cultural in character. as manifested in New Objectivity, Neue Sachlichkeit made in the north of England, Scotland’s Highlands as it was known in Germany and feeding into New and Western Isles, Northern Europe, Canada, Alaska, As Ysanne Holt suggested ‘North, of course, is a relative Photography. These historical movements were Siberia, the Arctic and the Nordic territories. concept’.1 Historically, the North has been figured developed further and continue to be evident in as remote, austere, cold, harsh, desolate, untamed, work employing a deadpan aesthetic. Alongside this The conference welcomed a wide range of difficult to access, isolated and undeveloped, as emerged a growing inclination to derive photographic critical approaches and embraced the potential Holt points out: ‘mostly by outsiders’.2 It has been images not from material reality but rather to construct of interdisciplinary enquiry through the inclusion variously associated with myth and legend, and as the them from a conceptual idea. These new tendencies of various theoretical disciplines: art history and site of solitary and spiritual contemplation, retreat, in photography have rivalled painting in terms of their visual studies, philosophy, literary theory, human escape and adventure. Together these form some of ambition and critical reception. geography, cultural theory, anthropology and history. the clichés, stereotypes and tropes that, in the past, The response to our invitation was wide-ranging and artists, filmmakers and writers have typically drawn However, whilst acknowledging this heritage it was consequently the conference proceedings contained a upon to communicate ideas about the North. important for us to open up a line of enquiry that diversity of papers, including: a history of photographic revealed and gave voice to alternative accounts of exploration of the landscapes of northern Norway Within the tradition of Western art there was a the North, through a consideration of contemporary addressed from the viewpoint of a geomorphologist recognizable ‘Northern Renaissance’ and there photographic practice and related media. We wanted Alexandra Hughes - Assemble

Theo Simpson from The land of the day before

to look beyond the established tropes to explore cultural framings, landscape images are not simply Campbell, Day, Dracup, Fitzgerald-Lee, Hughes, other kinds of experience of rural and urban space. manifestations of actual or imagined places, but also Lilleengen, S Robinson, Surah, Sutton, Yan Wong), some Our project was both to explore and contribute to the result of a complex of ideas and experiences that using digital technologies and dark room techniques, discourses on the North, with a particular interest in artists carry with them when they make images of others experimenting with format, lens and medium the dialogue between ideas and practice. With regard land. The conference and related exhibition therefore and the employment of analogue and antique cameras to this dialogue, some of the work on display is, at invited consideration of the limits of representation and alternative processes. For artists with an interest in least to some extent, predetermined by ideas about when applied to photographic evocations of the North the history of the landscape (Baskeyfield and Popham, the North and about landscape while other work and northerness. Crooks), its traces of accrued memory (Dracup, purposefully attempts to set aside such ideas in order Lilleengen) and the lived experience of its inhabitants to engage directly in the material reality and sensory There was a great diversity of work on show in the (Gerrard, Karunaratne) immersion and prolonged experience of specific places and spaces, rural, urban exhibition: geographically, thematically, as subject engagement was part of their practice, as was an and marginal. matter and in terms of the process of making. Places exploration of landscape’s narrative dimension and its represented included: the landscapes of the Scottish formation as an idea constituted both physically and Therefore, we were also interested in issues of Highlands and Islands (Campbell, Gerrard, Harvey), the psychologically. Ideas about the North, as played out in representation, the notion that landscape images forests and woodlands of Sweden, Norway, Germany, visual culture over decades, were considered through are not depictions of an unmediated reality but are, Derbyshire, Yorkshire (Dracup, Lazenby, Lilleengen, re-appropriated archival images presented in book as Gerhard Richter proposes, ‘abstractions’;3 in other Wichert), the uplands of Cumbria (Iddon), and the form alongside photographs and ephemera taken or words, a distillation, a reduction, always and necessarily urban, liminal spaces and edgelands of Siberia, Ukraine collected over a thirty year period (A Robinson). a partial account of a place. This may be said to apply and Northern England (Adams, Conduit, Dundure, equally to maps and mental conceptions of land and Roberts, Simpson). Several artists engage with Since the 19th century images of northern England landscape – as Jorge Luis Borges demonstrated - for landscape through walking (Adams, Gerrard, Harvey, have wrestled with the contrast between the ‘wild a map to show all that a given place contains it would Moreton, Wichert) or journeying (Crooks). and bleak’ uplands and the industrialised landscape need to be the same size as place itself.4 Of course, of pit villages, mill towns and industrial cities.5 The artists also add to what they encounter and since For some of the artists a conscious and explicit use transitions between the two have always been a ‘landscape’ as a concept only exists as a result of of process was key to realising the image (Butler, source of tension, more so in the context of industrial Sabine Dundure from Tairovo

Lisa Dracup from Sharpe’s Wood (2007)

decline and the great transformations that have strangeness of the Trans-Pennine M62, a construction landscape, then there comes a moment of awakening. occurred in northern England since the 1980s. Indeed, allowing travellers to detach themselves from the Lisa Dracup’s images of Sharpe’s Wood, a seemingly it is interesting that when urban space is addressed landscape through which they pass. Whilst the focus natural environment on the periphery of Bradford within discourses on northern landscape, it is with of these artists is northern England, a comparable which is encompassed by housing, manufacturing a focus on the margins and liminal spaces in the approach was taken by photographers working in industry, and roads as well as pastoral land, both context of industrial decline, marking the breakdown quite different places. Two artists in the exhibition embrace and contest the wild with its connotations of of boundaries between industrial and rural space, show images exploring unfamiliar urban landscapes the Sublime. The paradoxical nature of the landscape the edgelands signifying a collapse of previously in Ukraine and Siberia: Sabine Dundure eschews the is revealed through the technical procedures of the established zoning arrangements. Several artists in beautiful historical and coastal sites of Odessa for the medium, presenting the woodland as multi-layered. the exhibition explore urban landscapes, presenting city’s concrete suburbs in their harsh and melancholic Working in very different woodlands and forests images of redundant manufacturing industry and its winter bleakness, whilst Simon Roberts presents both artists do similar things: allowing the viewer to associated infrastructure in a new relationship to the images of the unforgiving and dramatic winters of experience a sublime moment, then, through the use increasingly fluid boundaries of natural landscapes. Russia’s far north, but often in unusual urban settings. of technique, encouraging a more critical engagement These artists all explore to some extent the ‘edgelands’ with the landscape. and liminal spaces of the current urban environment. The Sublime is an important point of reference. Mark Adams’ photographs of the canal network of Henry Iddon’s images of mountains contradict ways Walking as a fundamental element of art practice was Lancashire and Yorkshire trace a route through an of looking in which the emphasis is on scenic beauty, evident in both the conference and exhibition - an industrial past across which haunting images of decline instead showing upland landscapes and wilderness approach where practitioners ground their practice and regeneration appear in contrast to the pastoral of immeasurable scale and power. For artists working in the phenomenological experience of a given place, beauty of the natural environment; Matthew Conduit in forests and woodland the Sublime is a key albeit eschewing culturally determined ideas and established examines abandoned and forgotten spaces on the contested theme. Anna Lilleengen’s images were visual conventions. Artists, in their own particular ways edge of Sheffield, a ravaged industrial landscape now taken in the borderland forests of Western Sweden and to a greater or lesser extent, incorporate a wider encroached upon by untamed nature; Theo Simpson and Norway and exhibit a tension between a romantic, sensory and perceptual experience, moving beyond similarly investigates the ruins and artefacts of a post- sublime vision of the landscape and a more critical the purely visual. industrial landscape; while Keven Crooks probes the engagement with it. The viewer is first invited into the Anna Lilleengen from Metamorphosis Series I and II (Norway, 2013-14)

In this way the notion of landscape as visual observation entirely appropriate that the exhibition be linked the value of both, allowing for new possibilities for from a distant and static perspective is challenged by to a conference, both with the aim of encouraging interpretation, theoretical reflection and experience the idea of a dynamic encounter with environment. interdisciplinarity and, where this already existed, to across different discursive and practical fields. It The significance of walking for contemporary provide a forum for its further development. During was equally the case, though, that simply talking to landscape photography is evident; indeed walking has the two day conference, which also coincided with each other in such a stimulating environment was of become a powerful mode of re-engagement with an the opening of the exhibition, dialogue between immense value. age-old genre. Aileen Harvey was a key practitioner practitioners and academics occurred formally, here, carefully balancing her direct encounter with informally and very productively. This dialogue is an attention to the socio-historic aspects of the place ongoing and its scope cannot be easily summarised, An anthology of selected and extended conference papers is under investigation. Others also embedded walking in but we will conclude this introduction by describing to be published in Spring 2018 - Chris Goldie and Darcy White their approach; Sophie Gerrard incorporated walking two of the forms in which it was realised. Firstly, several (Eds), Northern Light: Landscape, Photography and Evocations of the North as a strategy for revealing the human experience of artists showing work at the exhibition delivered papers , Transcript Verlag, Bielefeld, Germany. landscape for six farmers – all of whom are women, at the conference exploring, and reflecting upon the thereby engaging with an experience of landscape theoretical aspects of their work (Butler, Dracup, 1 Holt, Ysanne, ‘A Hut on Holy Island: reframing northern rarely considered in existing photography. Gerrard, Harvey, Hughes, Lilleengen, Moreton, Roberts, landscape’, Visual Studies, vol 28, no. 3, 218-226, Routledge, A. Robinson, Simpson). Secondly, across the range 2013, p.218 The work contained within this publication is a of conference papers and in the work shown at the 2 ibid demonstration of the diversity of photographic exhibition a number of similar themes were evident: 3 Richter, Gerhard, Landscapes, Hatje Cantz, 2011 landscape practice where there is a focus on the inquiries into the limits of visual representation; the 4 Borges, J.L., ‘On Exactitude in Science’ first published Los Anales de Buenos Aires North. The range of places represented is very great practice of walking and its relationship to perception; 1946, , año 1, no. 3 in, reprinted in A Universal History of Infamy (translated by Norman but so too are the themes, concepts and frames of the landscape and lived experience; questioning Thomas de Giovanni), Penguin Books, London, 1975. perception through which locations were selected and and contesting the Sublime; history and memory; 5 Gaskell, Elizabeth, North and South, Penguin Classics, 2012 images realised. The northern landscape is a dynamic photography in an Expanded field.6 [1855], p. 42 terrain, very exciting in terms of its subject but also as The proximity of the conference and exhibition and the 6 Baker, George, ‘Photography’s Expanded Field’, October a field given shape by ideas and theory; thus it was presence of analogous themes across them enhanced 114, Fall 2005, pp. 120-40 photographs of the exhibition installation by Andrew Robinson Artworks Aileen Harvey - West From Here

Anne Campbell - Islands & High Lands

Liza Dracup - Sharpe’s Wood

Tom Baskeyfield and Mario Popham -Shaped By Stone v

Anna Lilleengen - Metamorphosis Series I and II, Norway, 2013 - 14

Andrew Robinson - An Idea of North

Sophie Gerrard - Drawn To The Land

Alexandra Hughes - Assemble / Clayotos

Michèle Lazenby - Becoming

Matthew Conduit -Chora

Patrick Wichert - Northern England

Jonny Sutton -Ultraviolet Landscapes

Aileen Harvey Anne Campbell Project Details West From Here Islands & High Lands

From the northwest coast of Scotland, the These images are from an on-going body Outer Hebrides islands line the far horizon. of work using a variety of experimental West From Here is a set of seventeen and darkroom photographic processes to photographs that follow the coast of the explore the Scottish landscape, in particular archipelago, looking out in twilight from the fragile northern ecosystems of the that western edge towards the further Highlands and Islands. west. Each photograph is a one-second exposure facing due west at midnight, taken Working with film and chemical processes, during May and June - when at this latitude (layering and exposing different areas it is twilight. The images were made on of the print by the use of bleaching and consecutive nights, a day’s walking apart, as redeveloping), allows for the creation of I travelled south along the islands. textural layers, creating one-off, subtle yet complex images, that mirror the The project aims to explore cultural ideas atmospheric and changeable weather of the West and of liminality in relation to systems, the landscape and our response to this border landscape, between land and it; the transitory nature of human presence. water, bright and dark. Thoughts about The surface qualities can be painterly and departure have particular bite for this coast, descriptive of personal experience, or may with its history of forced emigration to the mirror the visceral qualities of nature: they New World. The rules that structure the can reference the past while looking to the series are a framework that leaves space future. Some of this work formed part of a for chance, weather and accident to come joint exhibition with Shetland photographer into the work, and I see the walking as a Chloe Garrick in Shetland Museum & collaborative element, a measurement of, Galleries in 2014. and by, land and body both. It combines ‘How far can I walk today?’, with ‘where is the next good stopping place?’.

Berneray 000005062010 Sheilibridh 000031052010 Howmore 000010062010 The Road , (Lewis ) Infrared film, Lith Print Luskentyre 000003062010 The Wave, (Atlantic Ocean) Hand Toned Lith Print, Mordancage 35 x 33 cm, C-type prints mounted on aluminium The Quiraing, (Skye ) Lith Print Liza Dracup Tom Baskeyfield & Mario Popham Anna Lilleengen Andrew Robinson Sharpe’s Wood Shaped by Stone Metamorphosis Series I and II An Idea of North (Norway, 2013-14)

Sharpe’s Wood (2007) is a substantial body Over Millennia we have shaped stone: In the early-mid twentieth century, French An Idea of North brings together images of photographic research in a woodland on chipped, cut, split, crushed; turned hillsides philosophers Gilles Deleuze and Henri from photographic projects undertaken the periphery of Bradford, bordered in part into quarries; strata into streets. Like many Bergson both arrived at a ‘philosophy of over the past 30 years in Northern England, by residential properties, highways, pastoral other towns this process is the foundation immanence’ that described the material Scotland and Ireland, alongside related land and a production plant. The wood of Macclesfield. The pink and blue-ish world as underpinned by a metaphysical ephemera and collages created from is on the edge of both the urban and the Gritstone of Tegg’s Nose has been quarried reality that is subject to constant and reworked appropriated imagery. rural, an in-between place shaped by two for hundreds of years. The hill exists as ‘indivisible change’. contrasting terrains. Sharpe’s Wood cannot fragments scattered around the town, it sits Presented as an extended sequence in book be found by name on any Ordinance Survey in the walls, the facing of buildings and the Allan Kaprow, the American Fluxus form the work questions the construction, map. linings of streets. artist, subsequently devised a series of through film, photography, story and ‘activities’ that referred to this as ‘constant personal history, of an idea of north as both To the uninformed eye the wood is a Through a dialogue between analogue metamorphosis’ and encouraged a Zen-like a physical and psychological landscape. ‘natural’ environment, a place of the processes (including large format attention to processes of transformative wild, with no intervention from the photography, drawing, embossed rubbings, change in the real, material world. Limited edition 54 page B4 book digitally human hand. The singularity of the darkroom experimentation, writing, walking The sense that processes of decay and printed on Evolution Uncoated 100gms and extended exposure is used to reveal the and talking) artists Tom Baskeyfield and regeneration are in themselves transient, KeayKolour 300gms. transformational potential and aesthetic Mario Popham aim to bring to the fore linked and in rapid flux, is the starting point paradoxes of photographic seeing. The these layers of our shared history. As such, Lilleengen takes in her Metamorphosis technical capabilities – and limitations - of this work is an enquiry into the fabric of our series where she juxtaposes the idea of the camera and film present a world of surroundings and how we have shaped, and essential permanence with the paradoxical contradictions and questions, leading to been shaped by, our natural environment. ephemerality of matter. Sketch from The Hut, Snipe Point, Holy Island, 2006 a depiction of opposites simultaneously: A selection of pages from ‘An Idea of North’ including: light and dark, day and night, ‘truth’ and Shaped by Stone was commissioned in 2016 You Are Here - stills collage: Billy Liar, 1962, A Taste of Honey, 1961, ‘illusion’. The extended exposure times led by The Barnaby Festival in Macclesfield, This Sporting Life, 1963 to the visualisation and preservation of a with support from Arts Council England. 1960s lucite paperweight from Whitley Bay, Northumberland Robert Frank - Photo Poche, Paris, 1983 ‘hidden’ landscape once concealed from Metamorphosis, Series II - #4, Norway, 2014. Abandoned Fishing boat, nr Durrás, County Cork, Ireland, 2004 the eye. Metamorphosis, Series I #1, Original, Norway, 2013 Boat Cradles, Filey, North Yorkshire, Sept 1992 Metamorphosis, Series I - #3, Pale, Norway, 2013 Shipwreck, Seaton Sluice Beach, Northumberland, 1988 Skyline - stills collage: Man of Aran, 1934, The 39 Steps, 1935, The Metamorphosis, Series I - #6, Petals, Norway, 2013 Edge of The World, 1937, I Know Where I’m Going, 1945 Metamorphosis, Series II - #3, Norway, 2014 Sharks Fin Cave, Cullercoats, Northumberland, 1993 Embossed graphite rubbing & Bideford Black on Fabriano Metamorphosis, Series II - #5, Norway, 2014 The Sunday Times Magazine, Jan 14th 1971 paper (various sizes) and 20x16” Ilford gloss finish, fibre Metamorphosis, Series II - #6, Norway, 2014 Untitled, Sharpe’s Wood (2007), C-Type hand prints based, silver gelatine prints. C-Type prints on foamex Gather - stills collage from ‘The Shetland Experience’ 1978 Sophie Gerrard Alexandra Hughes Michèle Lazenby Matthew Conduit Drawn To The Land Assemble / Clayotos Becoming Chora

Drawn To The Land is an ongoing and Assemble (2014), is a floor–based gallery How we interact with place - whether we Matthew has photographed the landscape exploratory project which takes an installation consisting of an enlarged film are attentive or obtuse- is at the very least, around his home in Sheffield for over 35 intimate look at the contemporary Scottish frame containing an image of The Canadian a two way experience. years. He arrived at photography through landscape through the eyes of the women Rockies squeezed upright by a large mound a fascination with the act of mark making, who are working, forming and shaping it. of clay who’s undulating surface evidences The trees and plants we see in the the random man-made marks upon the Working and living in a male dominated the artist’s touch and simulates the landscape see us too. land becoming symbols and signatures of world, women have a significant yet under physicality of the mountains. A theatre light Place is not static. Rather it is dynamic, in current and previous uses and acts. represented role to play in farming in shines behind the work, referencing the perpetual flux; Scotland. sun within the image as well as projecting composed of infinitely complex patterns Conduit has been continuously drawn to the image across the floor, reawakening the and relationships, the city’s edges and its dormant, forgotten, Farming some of the most inhospitable photograph into the present and the line every cell and atom with its own ‘negative’ spaces. Fragile areas on the and isolated rural areas of Scotland, between interior and exterior spaces blur. intelligence. urban borderline that were once excavated, these female farmers have an intense and mined, farmed, industrialised and dumped remarkable relationship with the harsh The series, Clayotos (2014-2015) is a The multitude of events that a place upon. In the 1980s this landscape was landscape in which they live and work. collection of 3-D forms made from clay has absorbed also informs its collective brutal, and his images reinterpreted and positive photographic film frames of character. Birds, stones, weather, fungi all the ravaged surfaces of a steel city as it The project aims to explore the domestic mountains in B.C, Canada and coastlines contribute to the mix. Some in this place fought decline and pondered an enforced landscape as well as the physical, following of Northumberland, UK. The light of a have witnessed events from long before we economic and social side-step. More the emotional story of the land as much slide projector illuminates the collection were born. recently, the images appear to re-present a as the historical and geographical. The raising questions on histories, concepts rampant, untamed nature, yet they are all womens’ personal and physical stories and the ontology of technologies, primitive Every place has its own unique qualities as post -industrial landscapes in one way or reflect a wider story of our national identity, architectures and geological specimens that does each individual tree, insect, micro- another. Their (often ancient) place names and emotional relationship with the frame, represent and constitute landscapes. organism, breath. Place experiences us as are loaded with such history. landscape we experience place: animate, enchanting, entangled.

Blackfaced ewes and wind turbines, Threeburnford, Oxton, Assemble (2014), Print on Duraclear, hand moulded clay, Lauder, The Scottish Borders, January 2013 theatre light, 96 x 108 cm Meers Brook #3, 2010, 44” x 54” Minty at High Lee Croft, Bunessan. Isle of Mull, 2014 & 2015 Clayotos (2015-2016), Photographic Film, Clay, variable Untitled (Ecclesall Night Woods #2), 79 x 115 cm Meers Brook #17, 2011, 44” x 69” Syble at Brackley Farm, Dalmally, Argyll & Bute. 2013 - 2015. sizes from 20 x 15 x 3 cm to: 13 x 10 x 2.5 cm Untitled (Hareshaw Linn), 3 images at 77 x 107 cm Shire Brook Valley #26, 2010, 44” x 69” 12x12” and 16X16” Framed C-Type photographic prints Assemble (2014) - During construction Framed Giclée prints Pigment inkjet prints Patrick Wichert Jonny Sutton J.Fitzgerald Lee Henry E Iddon Northern England Ultraviolet Landscapes Conksbury Bridge A Place to Go (Sites of mountain misadventure)

This work is taken from a new body of Since the conception of photography, the The Peak District landscape has been Moses said he spoke to God from a work entitled Parallel Landscapes which is medium has been a meeting point for a major influence and part of my life mountain, for Lakota shaman the Great the result of a two year project exploring artistic practice and scientific exploration. Informing creativity and ways of seeing Spirit, Wakonda was embedded in the rock the landscapes of Northern England and Using propriety forensic equipment, Sutton alongside my wellbeing and Conksbury and scree of the Black Hills. For Taoists the Southern Germany. seeks to record images unperceivable to Bridge is one of those places I return to summits of five sacred hills gave a view over the human eye capturing ultraviolet light time and time again. the spiritual not physical world. The series consists of intuitive explorations, beyond the limits of our vision, a type of a persistent routine of drawing the light which for decades photographers have The images included here were Mountains in many cultures, are where landscapes of my homes. It is a melancholic gone to great lengths to avoid. developed using a LiDar laser scanner. gods and humans meet, the axis mundi drifting, which aims to recall memories and Whilst creating 3D point clouds I started where earth rises to meet sky, where historical events related to the locations As these rays of light scatter and diffuse to view machine made landscapes on human is dwarfed into insignificance, where walked. The landscapes are becoming in the atmosphere, the artist captures a 2Dimensional plane and was able to otherworldly light seems to glow. The part of my identity. In seeking familiar, ethereal landscapes which could never compose these images. landscape is not always simply a ‘place of unimposing and moderately scaled environs exist outside of the camera. Distant objects delight’ - scenery as sedative, topography I indicate scepticism with the grand gesture, become lost in mist normally invisible to The images are taken from a point of view so arranged to feast the eye, nor are they the overwhelming emotion. My approach is the human eye and textures and shapes that no camera or machine has actually always places for entertainment and normally contained within a straight realist become softened by the process. been positioned at, but the information commodified lifestyles promoted by TV aesthetic, resulting in tentative elementary and composition are accurate and celebrities such as Bear Ghryls and brands documents. has been extrapolated from the three such as Red Bull. dimensional data gathered at a central My most recent photography is focused on point within the scene. This work aims to go beyond the picture a long-term PhD research project titled The postcard one dimensionality that is Transient Landscapes of Forced Migration: often found when looking at a mountain identity, memory and emotional trauma landscape, contradicting the way we have which combines landscape photography been taught to view the upland landscape with historical research and the study of as a place of benign beauty. archival records.

Conksbury Bridge 1, Automated Image (Laser Scan), 2016 Conksbury Bridge 3, Automated Image (Laser Scan), 2016 A3 digital prints on Awagami Inbe paper, framed. 20”x16” Giclée Prints Conksbury Bridge 2, Automated Image (Laser Scan), 2016 20 x 16” C-Type hand prints from 5x4 colour negatives Michael Day Mitch Karunaratne Simon Roberts Theo Simpson Epicentres Landslag Polyarnye Nochi The land of the day before

Epicentres consists of a collection of images Icelandic land is deeply marked by history Unforgiving and dramatic winters have Theo Simpson lives and works in the North that have been produced automatically and meaning for Icelandic people. It is often been regarded as one of Russia’s of England. His work reflects on mythical by the U.S. Geological Survey computer vital to local memory and a deep source of most defining characteristics. A Russian themes relating to landscape and industrial systems on the event of a low-Richter scale ‘Icelandic-ness’. winter is redolent both of great hardship: heritage, often probing the instability of earthquake in a remote location, in this extreme temperatures, physical privation, the post-industrial landscape through the case, Alaska in winter. Stories, events and memories are not just an atmosphere of isolation and desolation, examination of materials, ruins, objects and imprinted onto the land, but the landscape but also great beauty. experiences encountered and created. Tremors that are low on the Richter scale is part of the historical consciousness lived might only be sensed by automated in modern life. Russia’s majesty is heightened by the seismological recording equipment rather intensity of its winter and for centuries, than be felt by humans. These images Coming from a culture where landscape is the Russian winter has been romanticised have been automatically generated from the triumph of humans over nature, I was by many artists from the master realists of sensor data, and exist as automated interested to engage with the Icelandic the nineteenth century, to modern day film representations of geological events landscape – landslag – where humans and directors such as Tarkovsky and Zviagentsev. that may never have been subjectively nature have an interconnected relationship. experienced. Using the perpetual dusk of Russia’s far North, Roberts encapsulates the natural light that was available for only a few hours each day during Polyarnye Nochi (Polar Nights), the period from December until mid-January when the sun remains below the horizon.

Untitled 15, Murmansk Harbour, Northern Russia, 2005 Untitled 3, Murmansk, Northern Russia, 2005 Untitled 1, Murmansk, Northern Russia, 2005 Untitled 2, Murmansk, Northern Russia, 2005 Untitled 13, Magarass, Northern Russia, 2004

Lambda prints on Fuji Crystal Archive Paper, 76x102cm Courtesy Flowers Gallery, London & New York C-Type Print from the portfolio of the parts, of the hole © Simon Roberts Transmitter Mast - Single colour silk screen print Sabine Dundure Kevin Crooks Guy Moreton Mark Adams Tairovo M62: The Trans-Pennine Motorway Denkbewegungen Waterways

Tairovo is a suburb in the Ukrainian city Carving out the Trans-Pennine M62 was, Ludwig Wittgenstein’s solitary walks in the Waterways began in 2007 as a self-funded of Odessa. It was constructed during the at the time of its construction, one of landscape surrounding his pastoral retreat photography project documenting the Soviet period to satisfy the increasing the most difficult and ambitious road – a simple cottage or hytte – in Skjolden, inland waterways of northern England. This demand for conventional housing in the construction projects ever attempted. on the north-west coast of Norway selection focuses on the South Pennine ever-growing city. For a passer-by the blocks As motorists travel across the Pennines allowed him to ‘do philosophy’, through Ring, a 70-mile canal network developed of flats form a concrete maze, impossible within a matter of several minutes, the what he described as denkbewegungen – during the late 18th and early 19th century. to navigate or understand but for the locals strangeness of the M62 is easy to dismiss. thinking through walking – whilst making The pictorial aspects of these photographs it is home, often brightened up by DIY Travellers can detach themselves from the observations of the mountainous fjord are informed by the landscape tradition of decorations and graffiti. landscape that they pass through, and the landscape that would, eventually, give him English painters and the New Topographic irreversible impact that the motorway has the space he needed to complete extensive photographers of the United States. Odessa is located by the Black sea and is had on the landscape and its surrounding and important manuscripts on logic and well known among the Russian speaking areas becomes unnoticeable. language. The canal is a tacit element in the work, tourists for its beautiful historical center appearing and re-appearing while and the seaside. The suburbs are normally ‘[T]he motorway [for Augé] is seen as an My own walks in Skjolden, made in functioning as an artery that runs through dismissed as a place for sleeping and simply archetypal non-place. Yet rather than ‘being collaboration with the artist and poet Alec cities, towns, villages and places in- existing. If during the hot summers the in the middle of nowhere’, the geographies Finlay attempted to uncover something between. The routes taken along tow paths concrete buildings are softened by green of the motorway landscape is complex and of the extraordinary character of the juxtapose pastoral beauty with industrial trees then the harsh winters show another, heterogeneous.’ landscape in Skjolden, and in doing decline and regeneration. By tracing the bleaker and somehow more melancholic so, reveal the contemplative side of region’s industrial past the canal functions face of the Soviet architecture. (Merriman 2004) Wittgenstein. The house no longer exists; as a historical and geographical guide, instead the ruins of the rock foundations which determines the path and direction This work captures the small, prosaic details where the house stood – stand for the of the photographic journey through the of the cityscape that reveal the trace of the possibility and the place of thought. My counties of Lancashire and Yorkshire. local community, especially evident during photographs of these pastoral landscapes the winter period. attempt to ‘bring forth’ connections posed by questions about our relationship to place, and what effect places might have 53° 29’ 52.8108’’ N / 2° 2’ 15.8964’’ W on us. (Mossley, Saddleworth) 53° 29’ 42.6768’’ N / 2° 13’ 52.3632’’ W Pennine Way Footbridge #2 LW118, Skjolden, Norway 2001/2005, C-Type Print (Bridge to Collyhurst, Manchester) Scammonden Dam LW108, Skjolden, Norway 2001/2005, C-Type Print 53° 36′ 38.5884” N / 2° 7′ 55.6716” W Pennine Way Footbridge #1 LW102, Skjolden, Norway 2001/2005, C-Type Print (Littleborough, Rochdale) Deanhead Cutting Scammonden (LW118 - collection University of Southampton) Inkjet Prints, 11 x 15 inch, Edition of 25 Jacqueline Butler Sonya Robinson Chi Yan Wong Ravinder Surah Horizon Flux The Refusal of the Image The Unpredictable Landscapes Living Things (Blue)

Drawing on the qualities of light and As an adopted twin I am driven to This series of images explores the creative There is a profound link between beauty shade the work is assembled through a rewrite a history without beginning, to potential of working at the boundaries of and fear, we sometimes fear what we combination of light projection, darkroom endlessly make and re-make images in the technical processes of photography love and love what we fear. This body of printing and image manipulation, working an attempt to find an image, an image where the representation of the landscape work expresses a love for the woodlands, with low-resolution files in 3D software. from childhood, the first image. On this subjects breaks down to create evocative something I fear in its darkness but also Light and the consequential shadow make slate, this tabula rasa all images slide distortions that mix abstracted surface with embrace and love within its golden light visible everything that surrounds us, the and disappear. Photographing images photographic depth. glory when kissed by the sun. physical spaces we inhabit. using black Perspex initiates a tolerable distance from which to negotiate a non- The series consists of four sets of four Here I used my camera to capture the The photograph gives us a visual image that must find its idealising form. Polaroid images (one set is presented here). erratic movement felt within myself when representation of ‘being’, and confirmation Through tangible images that serve to Each set was shot at a different time and in exploring the woodlands close to dusk. of having been, it makes us visible. cover an underlying reality something is a different location resulting in variations in There is a sense of ambiguity that promotes Invisibility induces a sensation of disclosed as essentially undisclosed. colour, pattern and shape with some images a notion of uncertainty as to what one is disorientation and of loss. Photographs referencing early photographic processes looking at, and like a Rorschach ink blot test exude histories of light, through viewing The process of photographing a surface and others influenced by abstract painting things seem to emerge as imagery jumps photographs we can appreciate light and that reflects can be likened to the and art photography. Every Polaroid image out at you from the photographic surface. shadow from the past, made permanent aesthetic ideal of the the Claude Glass, created is a unique object that is both a through the materiality of chemical and the tradition of the Picturesque and the representation of the landscape portrayed data processing. ‘This consoles me, and Northern Romantic tradition in art. The and a record of the making of the image. I find that I cannot get enough of these most common colour for a Claude mirror documents of light-space-time.’ is black. In Arnaud Maillet’s The Claude The photographs capture more than light Glass – Use and Meaning of the Black and form, they also record the temperature Mirror in Western Art ‘…the black mirror of the location through the fragility of the provides a light similar to that visible chemistry. Even though the landscape may during an eclipse…’ thus it brings about be distorted or only partially rendered, an occlusion in seeing (2004, p. 213). due to the instant nature of the Polaroid process the images still maintain a direct connection to the location in which they Still from Unicorn, digital video, 30 sec looped were produced. White Island, Screenprint on Aluminium Installation - Unicorn, digital video, 30 sec looped Without Light, Diabond mounted photograph Untitled (Glencoe) White Light, Diabond mounted photograph Framed set of four Polaroid prints, 54x24x3cm.

J.Fitzgerald Lee - Conksbury Bridge

Henry E Iddon - A Place to Go - Sites of mountain misadventure

Michael Day - Epicentres

Mitch Karunaratne - Landslag

Simon Roberts - Polyarnye Nochi

Theo Simpson - The land of the day before

Sabine Dundure - Tairovo

Kevin Crooks - M62: The Trans-Pennine Motorway

Guy Moreton - Denkbewegungen

Mark Adams - Waterways

Jacqueline Butler - Horizon Flux

Sonya Robinson - The Refusal of the Image

Chi Yan Wong - The Unpredictable Landscapes

Ravinder Surah - Living Things: Blue

photographs of exhibition opening by Sarah Gerrard Contributors Mark Adams Jacqueline Butler perimenting with a variety of processes includ- Kevin Crooks Waterways Horizon Flux ing Lith, Mordancage and Bromoil, combining M62: The Trans-Pennine Motorway the chemistry in unusual ways to create deli- Mark is a British photographer and academic. Jacqueline’s practice reflects on time and cate tonal layers and interesting textures. Due Kevin is a St. Helens based photographer who His work has been exhibited in galleries and memory in relation to the photographic and to the nature of these handmade processes has recently won the Deutsche Bank Award public spaces in the United States, Europe and the cinematic, exploring narrative and contem- each image is unique, the delicate colours and for Creative Enterprise after completing an the UK. Mark has published in a number of plations on the material qualities of the pho- tones varying with the use of different papers, MA in Photography at the University of Cen- journals and magazines including Next Level, tograph. She works with photography, video, chemistry and temperatures. tral Lancashire. His work currently explores the Der Greif and Art Monthly. In recognition of the artist book, writing and curation, and has a effects of how changes to government policy, his work, Mark received the Chris Garnham particular fascination with archives and collec- Anne is a member of the Bromoil Circle of initiatives and programmes shape the lives of Memorial Prize for Photography from the Roy- tions (both public and private). Currently un- Great Britain and Documenting Britain. people within society. Since completing his al College of Art where he received an MA in dertaking a PhD at Glasgow School of Art, her undergraduate education Kevin has worked Visual Communication. Currently undertak- research considers what constitutes photogra- www.annecampbell.photography professionally within the field of photography, ing a PhD, his research considers walking as a phy in the 21st Century, combining pre-pho- [email protected] producing a range of projects that tackle social means to open up new dialogues concerning tography principles with traditional and new and spatial mobility and the politics of commu- a phenomenological and pictorial experience print technologies. Jacqueline’s arts practice nity. Kevin is currently Head of Photography at of space through the medium of photography. explores themes associated with photography, Matthew Conduit Carmel College. Mark is currently lecturer in BA Photography at of loss and melancholia. Chora the University of Bolton and is represented by www.kevincrooks.co.uk Millennium Images and IRIS Artistic Platform. Jacqueline has exhibited internationally and Born in Nottingham, Matthew Conduit stud- [email protected] her work is held in numerous public and pri- ied Art at Mansfield College of Arts before www.markadamsimages.wordpress.com vate collections. She is currently Principal Lec- completing a BA Hons Fine Art at Sheffield Michael Day [email protected] turer in Photography and Director of Studies in Polytechnic in 1981. Thereafter, he exhibited Epicentres Media at Manchester School of Art, and an Ex- his work extensively around Britain into the Tom Baskeyfield ecutive Board Member of Open Eye Photogra- early 1990s. Matthew became Director of the Michael is an artist and researcher based in Shaped by Stone phy Gallery, Liverpool, and is a member of the Untitled Gallery in Sheffield and relocated the Sheffield. His art practice is focused on digital advisory board of ‘On The Image’ an interna- gallery from the suburbs to its current location technologies and the potential implications of Tom Baskeyfield is a multidisciplinary visual tional arts and humanities research network. in Sheffield’s city centre in 1988 (now Site Gal- their increasing entanglement with all aspects artist interested in relationships between peo- lery). He then worked for over twenty years of contemporary experience. ple, place, nature and landscape. In 2011 he www.jacquelinebutler.blogspot.co.uk developing the cultural industries sector across was awarded an MA in Art and Environment [email protected] the UK, after helping to develop the Worksta- He has exhibited and screened work in venues from Falmouth University for his project Of www.familytiesnetwork.wordpress.com tion and Showroom in Sheffield. He returned across the UK and internationally, including Time in Field, in which he immersed himself in to making images again seriously around 2004, the recent exhibitions Possession at Bangkok the life of a field for one crop cycle. Tom has resulting in the exhibition and publication Cho- Cultural and Arts Centre (2013), Deadpan exhibited across the UK, showing as part of the Anne Campbell ra, which was first exhibited at the SIA Gallery Exchange VIII at Casa Maauad, Mexico City Walking Encyclopedia at AirSpace in Stoke on Islands & High Lands in Sheffield in 2011, supported by Arts Coun- (2014), and Sluice__2015 at Oxo Tower Wharf, Trent, Hevva! Hevva! at the Eden Project, Corn- cil England. Matthew continues to make new London (2015). He has participated in the dig- wall and Soil Culture at Falmouth University. Anne Campbell is a photographer and artist liv- work from his studio in Sheffield. ital art festivals FutureEverything in Manches- Tom continues to work with Mario Popham ing and working in the North East of Scotland. ter (2010) and Piksel in Bergen (2009), and has on Shaped by Stone, the second installment, In addition to teaching analogue processes at www.matthewconduit.com undertaken residencies with Hull Time-based which will be exhibited at HOME, Manchester Gray’s School of Art in Aberdeen, she shares [email protected] Arts (2005) and PVA Medialab (2009) in the in 2018. He currently lives and works in Mac- a studio with five other artists, in Monymusk, UK, and with Lademoen Kunstnerverksteder clesfield, Cheshire. Aberdeenshire. A practising photographer for (2011) in Trondheim, Norway. He is a senior fifteen years, she completed her Masters in lecturer in fine art at Staffordshire University. www.tombaskeyfield.co.uk Fine Art in 2011, specialising in Alternative [email protected] Photographic Processes. Currently Anne is ex- www.michaelday.org.uk Liza Dracup Sophie Gerrard Alexandra Hughes Brixen/Brassanone, Italy; Belo Horizonte, Bra- Sharpe’s Wood Drawn To The Land Assemble / Clayotos zil and Kathmandu, Nepal and he has spoken about his work and activities on NRK TV ( Nor- Liza Dracup is based in the North of England Born in Edinburgh in 1978, Sophie Gerrard Alexandra Hughes is an artist with a practice in way), Channel 4 TV (UK), BBC TV (UK) and BBC her work questions how photography made in began her career in environmental scienc- the field of expanded photography. She under- Radio 4 (UK). His work is held in collections by; response to specific (northern) landscapes and es before completing a BA in Photography at takes physical explorations of the photograph- Wordsworth Trust, UK; Kraszna-Krausz Collec- natural histories can operate within the field Edinburgh College of Art and then an MA in ic medium, moving from the 2D to 3D, bringing tion, National Media Museum, UK; The North of aesthetics and align with the wider cultur- Photojournalism and Documentary Photogra- image and material together to redefine the West Film Archive, Manchester Metropolitan al debates about the value of the ‘local’ from phy at London College of Communication in photographic object, creating mixed media University; Scottish National Screen Archive; an environment and personal perspective. She 2006. Sophie pursues contemporary social sto- installations that explore our mediated rela- George Eastman House, Rochester, USA; State completed her doctoral studies at the Univer- ries with environmental themes. Her work has tionship with the landscape and wilderness. Library of New South Wales, Australia; Banff sity of Sunderland on Photographic Strategies been exhibited internationally and featured Hughes’ installations heighten the awareness Centre for Mountain Culture, Canada; Centre for Visualising the Landscape and Natural His- in worldwide editorial publications including of the multi-sensory, temporal and perceptu- for Contemporary Photography, University of tory of Northern England: the ordinary and the The Sunday Times Magazine, The Financial al shifts between humans, material, time and Arizona, USA. extraordinary (2017). Times Magazine, Telegraph Saturday Mag- place, blurring the boundaries between land- azine and Tatler Magazine. Sophie’s work is scape and technology, psychological and archi- www.henryiddon.com Liza’s work has been nominated for the held in a number of national and international tectural spaces, seeking to locate where the [email protected] Deutsche Börse Photography Prize (2012) and collections. She is a founding member of pho- contemporary sublime exists. @henryiddon the Prix Pictet (Earth) Photography Award tography collective Document Scotland and a (2009). She is a lecturer and works at Bradford member of research staff at Edinburgh Napier Hughes was born in Vancouver, Canada and School of Art and at other academic institu- University. Sophie is represented by The Pho- has exhibited internationally. She is currently Mitch Karunaratne tions across the UK. tographers’ Gallery. undertaking a practice-based PhD at Northum- Landslag / Cold Coast bria University, UK (2015-) and is a member of www.lizadracup.co.uk www.sophiegerrard.com the research groups ‘Geo Studio’ (Northumbria Mitch is a documentary landscape photogra- [email protected] www.documentscotland.com University) and ‘Ph Network’ (Birkbeck Univer- pher, based in London. Her work is principally [email protected] sity and The Photographers’ Gallery). Hughes concerned with how stories are held within previously completed her MFA at Slade School the land and the relationship between the land of Fine Art, UK (2008). and regional identities. For a number of years, Sabine Dundure Aileen Harvey she has been focusing on the northern parts of Tairovo West From Here www.alexandrahughes.co.uk the world, where she explores the process of [email protected] changing relationships with the land. ‘It is im- Sabine Dundure is a Latvian born photogra- Aileen Harvey is an artist whose work engag- portant to my practice to find ways to explore pher, with a BA Honours degree in Photogra- es with the experience of place. Her processes the notions of the attachments we have to par- phy from Sheffield Hallam University. Her work of walking, photography, drawing, and writing Henry E Iddon ticular places, places that are rich in story and comprises of a mix of cityscapes and portraits are used to inter-relate location, time and the A Palace to Go resonance, to respond to place, and working that capture the essence and atmosphere of body. Born in London, Aileen studied philoso- (Sites of mountain misadventure) through its significance in the process of psy- the surroundings in which she lives. Having phy at Edinburgh (1998) and Cambridge (2000), chological, cultural and economic transforma- prevously lived in the UK and Ukraine, she is and then sculpture at Wimbledon College of Much of Henry Iddon’s work explores upland tions.’ currently based in Paris, France. Art (2008); the one subject informing the oth- and wilderness environments. Henry has re- er. Exhibitions include: Bernard Leach Gallery, ceived an individual Arts Council Grant award Mitch received her MA in Photography from www.sabinedundure.com St Ives; Customs House Gallery, Sunderland; in 2006 for his series Spots of Time, and in 2016 University of Brighton in 2012 and has exhib- [email protected] Karussell, Zürich; An Lanntair, Stornoway; The for ‘Instanto Outdoors’ and has been nominat- ited widely both in the UK and abroad, most Photographers’ Gallery, London. She has pub- ed for the National Media Museum Bursary recently in Norway and Italy. She is a founding lished journal articles and an artist’s book. Award, shortlisted for the And/Or Book Awards member of the MAP6 collective. as well as the Foto8 Best in Show Award. His www.aileenharvey.co.uk work has been exhibited in the UK as well as www.mitchkarunaratne.com Michèle Lazenby computer algorithmic processing for interpo- His research engages with the cultural histories Simon Roberts Becoming lation in 3D imaging software and use this to and representation of landscape, place, mem- Polyarnye Nochi generate machine made images.’ ory, hauntology and ruination in literature, art Michèle Lazenby’s work has been exhibited in- and philosophy. He is co-author, with Alec Fin- Simon Roberts (b.1974) is a British photogra- ternationally and is held in public and private [email protected] lay and Michael Nedo of Ludwig Wittgenstein pher whose work deals with our relationship collections including the Wellcome Trust and – There Where You Are Not (Black Dog Pub- to landscape and notions of identity and be- Dow Jones. She has undertaken several artist’s lishing London). His critically acclaimed work longing. He originally studied a BA Hons De- residencies and commissions. While she was Anna Lilleengen has been published, presented and exhibited gree in Human Geography at the University of artist in residence at the Scottish Agriculture Metamorphosis Series I and II widely in the UK and internationally, and his Sheffield, a subject which has helped inform College, Auchincruive, she recorded insect (Norway, 2013-14) photographs are represented in major public his subsequent photographic practice. One behaviour previously unknown to expert en- collections including Tullie House Museum and commentator has described his photographs tymologists (Stercus Circus video installation). Anna Lilleengen is a process-driven fine art Art Gallery Carlisle, Southampton City Art Gal- as “subtle in their discovery and representation And during a residency at the Fringe Gallery, photographer who uses the physical structure lery, and the University of Southampton. of forms of cultural character, which exhibit a Glasgow, while making pinhole work (Views and limitations of the medium to create sculp- disciplined compositional restraint, a richness from Flat 15-5, Block 9), she set a record for tural pieces that explore materiality and tran- www.guymoreton.org of palette, and wealth of narrative incident.” the world longest negative after converting the sient states of being. Based in Scandinavia and [email protected] rooms in a high rise council flat in Castlemilk Yorkshire, her romantic images exteriorate in- His work has been exhibited widely with solo into camera obscuras and exposing paper to ner conditions of the psyche and explore their shows at the National Media Museum, Brad- record the landscapes witnessed by the build- reflection in the Nordic wilderness landscape. Mario Popham ford, Museum and Multimedia Art Museum ing. Shaped by Stone Moscow and resides in major public and pri- Since gaining a MA with distinction in Time vate collections, including the George Eastman She is currently employed as a Senior Lecturer and Image Based Media at Harrogate School of Mario Popham is a photographer of Japanese House, Deutsche Börse Art Collection and Wil- teaching on the BA Hons Photography course Art and Design in 2012, she has held over 20 and English descent who is currently based in son Centre for Photography. In 2010 he was at SHU. solo exhibitions in the UK and abroad, and was Manchester, UK. He received his B.A. honours commissioned as the official Election Artist by [email protected] shortlisted for the Aesthetica Art Prize 2014 in photography at Manchester School of Art in the House of Commons Works of Art Commit- and included in their 2014 publication of ‘100 2007 and continues to work on personal pro- tee and most recently he was made an Honor- most exciting contemporary artists’. In 2013 jects and commissions. His interests predom- ary Fellow of the Royal Photographic Society. she won the Vantage Art Prize and completed inantly lie in man’s paradoxical relationship to He has published three critically acclaimed J.Fitzgerald Lee a collaborative residency in London with the nature and how this finds expression within monographs, Motherland (Chris Boot, 2007), Conksbury Bridge two other interdisciplinary prize winners. In the post industrial British landscape. We English (Chris Boot, 2009) and Pierdom 2015 she was awarded a ‘Leeds Inspired’ small (Dewi Lewis, 2013). J.Fitzgerald Lee is a practising digital artist in- grant to produce public work in the communi- Mario’s work has been exhibited in London, tegrating a fine art practice with freelance and ty of Rothwell, interpreting local history, myth Wuhan and Rome amongst other places and www.simoncroberts.com industrial work alongside teaching and lectur- and legend through research, consultation and his work, Enduring Growth was the subject of instagram - simoncroberts ing in digital media as Principle Lecturer in Cre- photography. a solo exhibition at Manchester’s Cornerhouse twitter - @simoncroberts ative Media at Sheffield Hallam University. Lee in 2014. He was a recipient of the Magenta originally trained and practised as a fine art www.annalilleengen.com Flash Forward Emerging Photographer Award painter at Cardiff University before going on [email protected] 2013 and was nominated for the Tim Heath- Andrew Robinson to complete a Masters in animation and visual erington Trust Award in 2014. The second in- An Idea of North effects at the National Centre for Computer stalment of Shaped By Stone is currently un- Animation (NCCA) Bournemouth. Guy Moreton der production with support from Arts Council Andrew’s photographic practice investigates Denkbewegungen England and will be exhibited at HOME, Man- notions of individual and communal identity ‘New technologies and 3Dimensional imaging chester in 2018. through a visual anthropology of people, place processes frame my interest and research. Guy Moreton is an artist and Associate Profes- and trace applying creative strategies that in- Whilst using and developing these texture and sor of Photography in the School of Art, Design www.mariopopham.com tegrate still and moving imagery along with object making techniques I was able to use the and Fashion at Southampton Solent University. [email protected] text, audio and found materials. A BSc Hons degree in Geology from the University of New- vember 2013, Margate and The ‘Afterlife’ Of ture which feeds us with life but which could Patrick Wichert castle-upon-Tyne and a spell as a post-gradu- Photography, Symposium: Alice Culture: The also suddenly surrender us to our deaths; Northern England ate researcher informed the development of Endurance of Wonderland, Tate, Liverpool, without security humanity would struggle to an interest in time, place and visual narrative. 19th November 2011 exist’. Patrick is concerned with narratives which Since graduating with distinction in Photogra- present themselves in familiar landscapes, phy from the Royal College of Art Andrew has [email protected] www.rndgphotography.com mostly those of Southern Germany and North- undertaken numerous arts commissions and [email protected] ern England. These are intuitive explorations, a residencies leading to exhibition and publica- twitter - @rndgphotography persistent routine of drawing with a (passive) tion and has worked on research and consulta- Theo Simpson lens, often those sea-and landscapes which tion projects in a range of settings. the land of the day before resonate considering their role in the history Jonny Sutton of Europe. ‘I respond to the light and describe Andrew currently holds a full time post as Se- Simpson’s work has featured most recently in: Ultraviolet Landscapes with it a melancholic drifting, recalling mem- nor Lecturer in Photography teaching on the Palladian Design, exhibition at RIBA (2016), ories and historical events. I walk for conven- Mart and BA Hons courses at Sheffield Hallam Shooting Space: Architecture in Contempo- Jonny Sutton is a contemporary artist working ience and attuned to my rhythm of thought, University; acts as external examiner for the rary Photography (Phaidon 2015) and journals primarily with lens based media. Sutton’s work this I can accommodate close to my wider fam- BA Hons Photography Course at De Montford Mas Context and Photoworks. His work is also interrogates our ideas about the world around ily and professional tasks. Now I spend most of University, Leicester; treasurer for the Associ- held in various international public collections us, exploring the central contemporary themes my time in Northern England where an increas- ation of Photography in Higher Education; and including the V&A National Art Library, Foto- of nature, technology and the everyday. Using ingly familiar landscape has been emerging in is the founder and curator of the online photo- museum, Winterthur, Royal Institute of British various techniques Sutton re-presents the my photographs. It also is becoming part of book resource ‘Photobiliophile.co.uk’ Architects and the Tate Artists’ Book Library. world around us, allowing us to observe it me. In seeking familiar, unimposing and mod- from a new perspective. Of particular interest erately scaled environs I indicate skepticism www.anthology.co.uk www.theosimpson.co.uk is the way in which modern technologies are with the grand gesture, the overwhelming www.photobibliophile.co.uk @theo_simpson rapidly changing our relationship with image- emotion. My approach is normally contained [email protected] ry. As content becomes more readily available, within a straight realist aesthetic, resulting in accessible and highly disposable, the way in tentative elementary documents.’ Ravinder Surah which we interact with it evolves, having a pro- Sonya Robinson Living Things (Blue) found effect on the development of an increas- [email protected] The Refusal of the Image ingly digital society. The work of fine art photographer Ravinder Chi Yan Wong Sonya’s research considers the unnameable Surah creatively explores the human condition Sutton’s work has been exhibited widely, most The Unpredictable Landscapes and unrepresentable origin of the ‘image in combining ideas of vulnerability with the phi- recently at SIA Gallery and Millennium Galler- trauma’. Research is informed by psychoa- losophies of metaphysics to create complex ies, Sheffield; as well as having featured on Chi Yan Wong is a photographer based in Lon- nalysis and continental philosophy, relating engaging artworks that aim to stimulate the numerous websites including Beautiful Decay, don with a strong interest in analogue pho- issues of loss, desire and origin. Strategies of emotions of the viewer. He explores the human Nerve.com and Daily Inspiration. Currently tography, working mainly in 35mm black and distanciation, performative intervention and condition utilising a creative mix of both direct working on a number of artistic and scientif- white film, Polaroid and alternative processes. aesthetic defense negotiate a tolerable dis- and abstract representations to challenge the ic projects in the North of England, Sutton is Chi’s practice consists of landscape and still life tance from which the image in trauma is to viewer’s perceptions and to ultimately provoke engaged in freelance work in art, photography photography and the work she creates is char- be approached. Sonya is an academic, artist thought and reflection on our relationship with and consultancy. acterised by its strong yet sensitive visual style and writer. She studied for an MA in Fine Art both nature and society. and subtle qualities. She is passionate about (Media) at The Slade School of Fine Art. She www.jonnysutton.co.uk exploring a range of techniques and experi- is currently Senior Lecturer MArt/BA (Hons) Using video and still images to display how twitter - @JonnySutton menting with different photographic processes Photography at Sheffield Hallam University. susceptible we are to the elements surround- working at the boundaries of the medium. Exhibitions include Doverodde Book Arts Festi- ing us, Surah also directs emphasis on his own val IV + Symposium – 2012, Denmark. She has anxieties and personal feelings as a stimulation [email protected] delivered papers at I Wonder, What is Wrong to drive his perplexing work. Surah explains twitter - @cywongphoto with Alice? Nostalgias: Visualising Longing, No- ‘Without comfort we fall into the hands of na-

Credits

Northern Light was exhibited at the Sheffield Institute of Arts (SIA) gallery, 153 Arundel Street, Sheffield, S1 2NU, England, from July 4 – July 31 2016.

The exhibition was curated by Michèle Lazenby to accompany a two day academic conference at the Sheffield Hallam University hosted by Darcy White and Chris Goldie.

Conference, exhibition and publication have been supported by the Department of Media Arts and Communication and the Art & Design Research Centre. at Sheffield Hallam University.

Telephone Box, Portsonachan, Lock Awe, Argyll and Bute, Scotland, April 1998 Andrew Robinson northern light Landscape, Photography and the North

Edited and designed by: Andrew Robinson

Introductory essay by: Darcy White and Chris Goldie.

Published by: Department of Media Arts and Communication Sheffield Hallam University, Howard Street Sheffield, S1 1WB.

The copyright of all work presented herein remains with the individual contributors and is reproduced here with their permission.

ISBN - 978-1-84387-411-9

Visit the Northern Light Website: http://www.northernlight.photos

Front Cover: image from Living Things (Blue), Ravinder Surah Back Cover: detail from Epicentres, Michael Day

Northern Light: Landscape, Photography and the North

ROBINSON, Andrew

Available from the Sheffield Hallam University Research Archive (SHURA) at:

http://shura.shu.ac.uk/21311/

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