Fresh Faced + Wild Eyed 2015

From vibrant simulated seas to deeply personal family snapshots, we take a look at this year’s chosen emerging artists from Fresh Faced + Wild Eyed at the Photographers’ Gallery in London.

From vibrant simulated seas to deeply personal family snapshots, we take a look at this year’s chosen emerging artists from Fresh Faced + Wild Eyed at the Photographers’ Gallery in London.

Since 2008, the show has aimed to celebrate the quality and the breadth of graduate practices from photographic and related visual arts courses, as a platform which supports emerging talent. This year, TPG has chosen work from 25 artists from an open submissions process, all of whom have graduated in the past year from BA and MA courses across the UK.

This year’s judging panel included Kate Cooper (Autoitalia), A K Dolven (artist), Damien Poulain (Oodee Books) and Brett Rogers (The Photographers’ Gallery director).

The chosen photographers for 2015 were William Ashton (Gloucestershire), Emma Gruner (Camberwell), artist duo blør (Signe Emma & Theodoulos Polyviou, RCA), Alexander Burgess (Camberwell), Mandukhai Kaylin (RCA), Francesca Jane Allen (LCC), Jocelyn Allen (LCC), Craig Gibson (Uni of West of Scotland), Dominic Hawgood (RCA), James Bell (Norwich Uni of Arts), Charan Singh (Farnham), Aida Silvestri (Westminster), Jonathan Simpson (Westminster), Sian Davey (Plymouth), Tanya Zommer (CSM), Marcus Boyle (LCC), Coco Capitán (LCF), Paul Hutchinson (CSM), Alexandra Lethbridge (Brighton), Liz Orton (LCC), Jill Quigley (Ulster), Rebecca Scheinberg (LCC), Wilf Speller (Westminster), Alexandra Vacaroiu (LCC), Betty Laura Zapata (LCC).

Here’s some of our highlights from the show…

Sian Davey‘s highly personal series Looking for Alice features the artist’s three year-old daughter, who was born with Down’s Syndrome. It reflects upon family narratives whilst exploring wider societal attitudes to young people and difference.

For the Shift Command Three series, Alexander Burgess focused on the point at which digital mapping services from Google, Apple and Microsoft stop documenting the sea, and instead generate new versions (created through a process of averaging, cloning and repetition), capturing the shift between photographic satellite imagery and fabricated simulations .

Coco Capitán’s Middle Point Between My House and China, combines studio portraits and images taken in China, exploring invented realities and the relationship between a community and an outsider.

Dominic Hawgood‘s Under the Influence combines photography, CGI, lighting design and installation. Inspired by his experience of witnessing an exorcism ritual, his images examine trends in evangelical Christanity.

Jill Quigley‘s series Cottages of Quigley’s Point, capture her colourful interventions in abandoned Irish cottages, disassociating the locations from their past through filling the dilapidated rooms with splashes of paint and other neon props.

Girls! Girls! Girls! from Francesca Jane Allen explores the the strength and fragility of the transitional period between adolescence and adulthood, in a series of composed portraits and candid snapshots.

The Meteorite Hunter project by Alexandra Lethbridge is an archive of a search for meteorites and the places that they have come from, exploring the parallels between the imagined and the real.

Craig Gibson‘s Born after Birth, documents rituals of adult baptism and its surroundings within the Baptist Church community in Glasgow, Scotland.

Covering the Carpet by Jocelyn Allen is a series of self-portraits, depicting the nude female body in various contorted positions. Through carefully concealing commonly sexualised areas, her work seeks to challenge stereotypes and responsibilities places on the female body.


Jonathan Simpson‘s video project I am Fine investigates the dangerous and exploitative conditions of Singapore’s migrant workers, including many Bangladeshi men who leave their families for several years at a time in order to support them. Simpson partnered with a local charity to deliver video messages of love and support between the workers and their families and documented the emotional effects of the separation.

 

ffwe2015.thephotographersgallery.org.uk

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