The Homeless Film Festival at LCC

homeless film festival

Between Tuesday 4 and Friday 14 November, London College of Communication will play host to an eclectic range of free film screenings as part of The Homeless Film Festival, returning to LCC for its second season.

The screenings are open to everyone but booking is essential.

The festival is dedicated to confronting and presenting homeless issues and screens high-end films from around the world, all of which have homeless issues as a central theme or are made by homeless creatives in a mixture of genres.

LCC BA (Hons) Film Practice Joint Course Leader Polly Nash works with festival organisers Dean Brocklehurst and Jamie Rhodes to coordinate LCC’s screenings, with many LCC students helping out on a voluntary basis.

Screenings //

there once was an island

Tuesday 4 November
There Once Was an Island
In this feature documentary, three people in a unique Pacific Island community face the first devastating effects of climate change, including a terrifying flood. Will they decide to stay with their island home or move to a new and unfamiliar land, leaving their culture and language behind forever?

fisher king

Friday 7 November
The Fisher King
A screening of Terry Gilliam’s classic ‘The Fisher King’, even more poignant after the tragic suicide of Robin Williams. A former radio DJ, suicidally despondent because of a terrible mistake he made, finds redemption in helping a deranged homeless man who was an unwitting victim of that mistake.


Monday 10 November
The Answer to Everything + Q&A
Rupert Jones and Emma Bernard skilfully mix performances from Streetwise Opera’s homeless and ex-homeless performers with a handful of professionals including renowned soprano Elizabeth Watts to create a rich and characterful 40-minute film. A member of Streetwise Opera will take questions from the audience after the screening.


Wednesday 12 November
In this Irish drama starring Colm Meaney and Colin Morgan, Fred lives a quiet, isolated life in his car, having lost all hope of improving his situation. That all changes when he forms an unlikely friendship with Cathal, a dope-smoking 21-year-old with a positive attitude, who becomes his ‘neighbour’.

the unloved

Friday 14 November
The Unloved + Q&A
British drama ‘The Unloved’ is the directorial debut by acclaimed actress and Homeless Film Festival patron Samantha Morton. Lucy is eleven years old. Having been neglected by her estranged mother and father, she is placed in a children’s home. Star Molly Windsor and producer Kate Ogborn will answer audience questions after the film.

View the full programme

Read about BA (Hons) Film Practice

Visit the Homeless Film Festival website

Journalism Guest Speaker Review // The VICE Vision of Journalism


VICE’s Bruno Bayley gave the second talk in this year’s LCC Journalism Guest Speaker series. Image © Diana Tleuliyeva

On Tuesday 21 October, LCC welcomed Bruno Bayley, European Managing Editor of VICE for the second lecture in the Journalism Guest Speaker series. Third-year BA (Hons) Journalism student Diana Tleuliyeva reports.

Bayley’s lecture on the VICE vision of journalism was hotly anticipated by many – the audience ranged from UAL to City University and even Bristol University students. Everyone was intrigued to get an insight into the most provocative magazine in the country.

Since the time of its establishment in the UK in 2002, VICE magazine has undergone a lot of changes. It’s gone from being a magazine “hated for its humour” to being innovative in the way news and pop culture is covered.

“A part of my job is to make the magazine better without making it a different magazine. So, it’s about balancing, keeping that tone and the things people liked about it but actually improving the quality of it: better writers, better photographers,” said Bayley.

Bayley believes the video content on VICE has helped massively to change people’s perceptions about the magazine. A recent documentary about the Islamic State is one example.

“When I started working at VICE, there were only a few serious articles, but now we have documentaries and even a news channel. A lot of people will be surprised how VICE has changed.”


A packed Main Lecture Theatre for Bayley’s talk. Image © Diana Tleuliyeva

VICE is known for championing the “immersionist” school of journalism and Bayley stressed this throughout the lecture: “I’d rather commission a story when someone says ‘I’m going to go to this place and do this’ rather than pieces written from a removed situation. Be immersive as much as possible.”

So, how do you get a job at a publication like VICE? Bayley recommends being proactive and useful in the workplace and doing as much work as possible.

“A lot of the journalists were interns who did well and then became regular contributors, usually progressing from the online version and then writing longer features for the magazine.”

Internships are advertised online throughout the year, giving opportunities to work for one of ten channels. Bayley himself started by writing reviews and conducting vox-pops for VICE in 2007.

Good engaging ideas are a part of the magazine’s DNA. Bayley explained: “We like to cover things that either other people haven’t covered hugely, that people wouldn’t read about elsewhere, or cover a story in a slightly different way.”

Many still accuse VICE of being too biased in comparison to the mainstream media. Obviously, objectivity is the goal of any serious publication and VICE is not an exception:

“We try to be unbiased. For example, in the Syria issue, we had an article written from Syria by pro-regime and rebel people. It’s a good example to show that we try to be as representative as possible, showing different sides.”

Founded as a fanzine in Montreal in 1994, VICE now distributes a free monthly magazine in multiple languages in 29 countries. Its ten vertical content channels cover various topics from food to technology.

In 20 years, VICE has become a global success, engaging millions of young people across the world.

Words by Diana Tleuliyeva

View the full Journalism Guest Speaker series

Read a review of ‘BBC News and the Digital Future

Read about BA (Hons) Journalism


Students from RMIT University, Melbourne visit LCC for graphic design workshop

RMIT 2014

RMIT students combine word and image. Photography © Vladimir Molico

London College of Communication recently hosted a group of students from RMIT University, Melbourne, Australia for a word- and image-based design workshop.

The students collaborated with MA Graphic Design Lead Tutor Vanessa Price to generate material in response to the immediate vicinity of the Elephant and Castle.

We asked Vanessa to tell us more about this workshop and the research project from which it developed:

Through the cityscape of the Elephant and the texts and narratives of its everyday life, the RMIT workshop re-imagined how graphic design could enable us to become more ‘writerly readers’ of our visual culture.

The collaboration and knowledge-sharing with RMIT is ongoing as students continue to develop the project back in Melbourne.

‘Writerly Readers’ is the ongoing research project I lead at LCC. The research has arisen from an archive of the practice-based Writerly Readers workshop undertaken by postgraduate students within the School of Design.

Since 2011, the visual case study for this word and image workshop has been the immediate area around LCC: the Elephant and Castle.

The workshop asks participants to consider how we create and receive visual messages and argues for a model of design through which we can question the provenance of visual texts and the role of graphic design within the wider framework of visual communication.

As graphic design becomes increasingly synonymous with a contemporary visual discourse dominated by commercial advertising culture, a case emerges to develop a more collaborative process that could question the role of graphic design within the visual spectacle.

In considering relationships between authoring and receiving visual messages, the project argues for a model of design that invites the viewer to become more writerly readers of visual meaning.

group at wall

Photography © Vladimir Molico

Read about MA Graphic Design

Read Vanessa Price’s staff profile

Read more about Research at LCC

Research // Grace Adam draws a crowd

big draw setting up

Preparing for The Big Draw. Image © Grace Adam

On Monday 20 October, students, staff and passers-by were treated to an exciting pop-up drawing session in the Typo cafe by LCC lead design tutor Grace Adam as part of Inside Out Festival 2014.

Grace’s event, ‘Framing the Elephant’, invited people to stop, look and draw, taking 10 minutes or half an hour to create a fast, fun drawing of the view from inside the College.

The highlight of #framingtheelephant - a part of #lccgradschool! #nofilter

Instagram @fbigos

A brilliant drawing by @jhartley95 at @lcclondon #framingtheelephant

Instagram @fbigos

Grace has also recently appeared on ‘Daily Brunch with Ocado‘, demonstrating a few fun and unusual ways to get drawing.

Watch the video here [starts 26:59]

Speaking about her wider involvement in ‘The Big Draw’, a national festival of drawing with events held around the country, Grace told presenters Tim Lovejoy and Simon Rimmer:

“The Big Draw was set up to get people re-engaged with drawing, having fun, and connecting to the world in a different way [...] I think it’s considered a childish thing to do, and we communicate with text. Drawing is not taken so seriously, which is a shame. It’s essential.

“I think everybody is obsessed by ‘getting it right’ and getting it to look like the real world, but your drawing will be different from my drawing. You express yourself as an individual and that’s important.

“Drawing is a pleasure, drawing is a way to look at the world, to communicate, to experiment, to explore. It’s a good thing and we’re losing it.”

If you’ve missed out this year, however, some of Grace’s own sculptural work is on show until Friday 31 October in ‘Modes of Remembrance’ at St Giles-in-the-Fields, exploring and responding to the idea of monuments and memorials within the church.

Read Grace Adam’s staff profile

Read more about Research at LCC

LCC BA (Hons) Photography students capture London with ASUS ZenFone

Asus landscape cropped

Detail from image @ailujjjulia, Instagram

Last week 80 first-year BA (Hons) Photography students were given an ASUS ZenFone 5 LTE smartphone and challenged to create stunning photography around the capital.

For the past few days they have been competing to take the best photos using each of the ZenFone’s camera modes (Low Light, Panorama, Selfie and Time Rewind).

In a fifth category, the students were asked to snap an image that epitomises London.

Here are some of the submissions posted on Instagram:

London Red Bus by Trafalgar Square #London #ZenphoneUAL #ASUSZenphone

Instagram @elliottthetallone
Elliott Dean

Street art in Brick Lane. #AsusZenfone #ZenfoneUAL #London #streetart

Instagram @louise.donohue
Louise Donohue

#ThisisLondon, my London. Captured this afternoon near Westminster bridge with my #ASUSZenFone for #zenfoneual!We are having a competition within our first year of BA photography at LCC with @ASUShq and @London! Wish me luck!Love, from #London

Instagram @kim.ou
Kim Leuenberger

Zenfone Competition!! Give me a like plz~#ASUSZenfone #ZenFoneUAL #London #BigBen #LONDONEYE #UAL #HAPPY # LIFE #BUS #UK #SUN #2014 #lomo #Westminster #riverthames #phone

Instagram @yehsunny2002
Yah-ching Yeh

We will share the winning images when they are announced, but in the meantime search #asuszenfone and #zenfoneual on Instagram to see more.

Read about BA (Hons) Photography

LCC BA (Hons) Film Practice students collaborate with Urban Outfitters

Ruby Heart 1

Ruby Heart, aka Harriette Dunn, at work on the changing room graffiti mural. Image © Urban Outfitters

Three students on LCC’s BA (Hons) Film Practice course recently seized the opportunity to work with international fashion franchise Urban Outfitters on a promotional film.

We asked Tom Jeffery, who made the commercial with coursemates Csaba Kondor and Daniel Kershaw, to tell us more about the shoot.

“It came about via a friend of mine who does the interiors for Urban Outfitters stores. He had a video opportunity to shoot his sister [24-year-old artist Ruby Heart] doing a graffiti piece in the Oxford Street store.

“I asked if I could do it with some friends, and after getting it signed off with the Creative Director, I arranged for my course group to film it.

“It neatly fitted in at a time when we had some kit for a short film for a BA (Hons) Film Practice sound project. We actually got a taxi from shooting the first scene straight to the store at midnight and didn’t leave till around 4am. So all in all it was around a 13-hour shooting day!”

Watch the video //

Read about BA (Hons) Film Practice

Film // Festival success for LCC staff


Still from ’72-82′, William Raban.

Three members of LCC staff, William Raban, David Knight and Brad Butler, have recently been featured in film festivals around London, balancing their roles as academics and active practitioners.

Professor of Film William Raban had ’72-82′, his latest film, selected by 2014′s London Film Festival (LFF). ’72-82′ explores the first ten years of groundbreaking London arts organisation Acme Studios and their critical work in housing some of the most renowned artists of our time, such as Richard Deacon and Anthony Whishaw.

Despite having more than 50 films under his belt, William describes the making of ’72-82′ as a “completely new experience”, as it solely uses archival visual materials to revisit the formative years of the organisation.

In addition to screenings at the BFI and Acme Studios, the feature-length documentary will also be screened at LCC’s Inside Out Festival, where William is in conversation with acclaimed sculptor, the two-time Turner Prize-nominated Richard Wilson.

David Knight’s work as Senior Lecturer on BA (Hons) Film and Television at LCC has taken him beyond teaching, as he enjoys success as Director of Photography on ‘The Quiet Hour’, which was nominated for Best UK Feature Film at the 22nd Raindance Film Festival.

“It is hugely satisfying to bring my professional practice back to the classroom. Working at features level brings into play a whole new set of skills to disseminate through workshops at LCC,” said David.

Recently appointed LCC Research Fellow Brad Butler continues the trend with a screening of his short film, ‘The Unreliable Narrator, at this year’s LFF.

Read profiles of William Raban, David Knight and Brad Butler

Read about BA (Hons) Film and Television

Read about Brad Butler’s work at the Hayward Gallery

Journalism Guest Speaker Review // BBC News and the Digital Future

robin pembrooke3

Robin Pembrooke described how BBC journalism is adapting to the digital era

As LCC’s Journalism Guest Speaker talks return for 2014-15, first-year BA (Hons) Journalism student Dylan Taylor reports on the first event in the series.

For the first of these guest lectures on Tuesday 14 October, we were joined by the BBC’s Head of Product for Online News and Weather Robin Pembrooke.

Pembrooke’s visit to LCC comes at an interesting and challenging time for the BBC. The corporation is attempting to advance its news content online, whilst also trying to strike a balance between appealing to consumers both young and old.

It was interesting to hear how the BBC was trying to appeal to the somewhat under-represented demographic of 16-24 year olds, regarding online news.

So how does the oldest and most recognisable broadcaster in the UK go about the digital transformation of its news content? The answer, according to Pembrooke, lies in a more personalised relationship between the news and the audience.

We were given an exciting sneak preview of the BBC’s brand new app, which would allow users to customise their own news content by choosing which areas they wanted their news from and which specific journalists they wanted to read content from.

With the app enabling the BBC to have an enhanced web presence, we were told that the launch of new digital programmes such as this did not come without its problems. It was interesting to find out that the average age of someone looking at the BBC’s homepage was 48.

Pembrooke informed us that most people of this age were very sceptical about any kind of change to an already successful online news platform. Any process that involved change of this nature would have to be a gradual process to keep consumers of all ages interested in the BBC’s news content.

For us aspiring journalists, it was intriguing to hear that the BBC was looking to allow its journalists to publish content on the go, without having to wait for the traditional news slots on television to broadcast the content first.

With the BBC’s tagging and curation now powering their storytelling, Pembrooke encouraged us to have a look at the BBC’s Chartbeat data-monitoring website.

This type of information wasn’t just for the “nerds” though. By monitoring what people were reading, Pembrooke told us that journalists would have a better understanding of what people were looking at regularly and therefore what people were more likely to view in the future.

As a final piece of advice, Pembrooke encouraged us to tweet and promote our own content effectively as in the case of Laura Kuenssberg.

Currently working for the BBC’s Newsnight programme, Kuenssberg is incredibly effective at promoting teaser content online, to get the public interested in what will be on the programme that night.

With many of us creating our own blogs and content throughout our studies, it was inspiring to hear how effectively promoting our own content could help us all up our profiles in a competitive journalistic environment.

Words by Dylan Taylor

Read about BA (Hons) Journalism

BA (Hons) Journalism at LCC launches brand new magazine designed by Scott King


Artefact’s first cover star is model and actress Lily Cole

October sees the launch of Artefact, a 52-page A3 magazine produced by students on the third year of LCC’s BA (Hons) Journalism course.

The first issue contains features on ketamine abuse, sugar daddies, the fashion muse Isabella Blow and the couchsurfing phenomenon, as well as reviews of music, films and games.

After this initial issue, the magazine will appear, free of charge, four times a year in the autumn and spring terms. Written and edited by student journalists, it replaces Arts London News, the newspaper produced by students on the course for many years.

Simon Hinde, Programme Director of Journalism and Publishing at LCC, explains:

“I felt it was time to move on from the ALN format and produce a magazine that gives students the opportunity to produce work that they are passionate about and to present that in a quality publication that they’re proud of and can show to future employers.

“LCC has an amazing heritage and culture of art and design and I want Artefact to be part of that tradition.”

As well as being distributed in UAL’s Colleges, Artefact will be available in shops, bars and cafes around London.

seen on campus

‘Seen on Campus’ profiles students’ sense of style

The magazine was designed by Scott King, UAL’s Chair of Visual Communication, aided by Central Saint Martins alumnus Oswin Tickler. Scott brought to the project his experience of working as Art Director of i-D and Creative Director of Sleazenation magazines.

Through his contacts in the worlds of art and photography, Scott persuaded the likes of Jeremy Deller, Linder Sterling and Juergen Teller to allow their work to be used to illustrate the students’ journalism.

“Scott’s worked incredibly hard on this over the last few months and I’m massively grateful to him,” said Simon Hinde. “We’ve created the basis of a great magazine and the students are already working hard on the next issue.”

Read more about BA (Hons) Journalism

LCC Research Fellow Brad Butler exhibits at Hayward Gallery

Image: Film still from work by Brad Butler and Karen Mirza

Image: Film still from work by Brad Butler and Karen Mirza

Two films by Brad Butler, a London College of Communication (LCC) Research Fellow, feature in Hayward Gallery exhibition MIRRORCITY, open now until Sunday 4 January 2015.

MIRRORCITY explores the effect the digital revolution has had on our experiences. It includes recent work and new commissions by emerging and established London-based artists who seek to address the challenges, conditions and consequences of living in a digital age.

Brad completed a PhD at LCC under supervisor William Raban and has since become a Post Doctoral Research Fellow at the College.

Brad and his creative partner Karen Mirza have been shortlisted for the sixth Artes Mundi Prize, the UK’s biggest contemporary art prize, and will exhibit with other shortlisted artists in Cardiff from 24 October 2014 until 22 February 2015.

UAL Research caught up with Brad to find out more about his current projects.

Tell us about the work you are showing in MIRRORCITY.

I am showing a new work, ‘Everything for Everyone and Nothing for Us’, alongside an existing work, ‘Hold your Ground’. Shown side by side, these two films speak to each other, though there’s a slight awkwardness about their conversation. They are both about languages of protest, and the relationship of the body to protest.

‘Everything for Everyone and Nothing for Us’ is set in a TV studio, where a protester-in-training listens to audio extracts from a political speech by Margaret Thatcher. Having absorbed the sounds, the protester uses movement to exorcise Thatcher’s voice, retraining the body to resist capitalism.

In ‘Hold Your Ground’, the same protester struggles to turn utterances into speech. Her efforts are interrupted by archive footage of protests in Egypt, Northern Ireland and London. Eventually, she manages to pronounce four phonetic phrases reconstructed from Arabic, meaning ‘hold your ground’, ‘Egyptians’, ‘homeland’ (of the earth, of the Nile) and ‘strike’.

The title of ‘Hold Your Ground’ is taken from the pamphlet How To Protest Intelligently. ‘Everything for Everyone and Nothing for Us’ echoes the slogan of the Mexican Zapatista liberation movement, which began its struggle against neoliberalism, exploitation and racist oppression in 1994.

Why did you choose LCC for your PhD studies, and how did you find the experience?

I chose LCC based on the supervisors primarily. William Raban and Elizabeth Edwards understood my project and process. It was, for me, a perfect match of expertise and timing, and before I knew it I was in the programme supported by LCC’s Research department to find funding.

From there it was a great experience and formative for my work. While academia may not suit every praxis, it proved to be a chance for me to go deeper in a supported semi-autonomous way.

The links later on to a post-doctorate have felt natural. So far I have been encouraged and I feel I fit. Basically, over the last 19 years of being an artist I have worked out the hard way how important it is to work with the right people. Even great ideas will become exhausting if that is not a priority.

Brad Butler talks about his research at LCC's Graduate School Festival, May 2014. Image © Lewis Bush.

Brad Butler talks about his research at LCC’s Graduate School Festival, May 2014. Image © Lewis Bush.

Read the original interview in full on the UAL Research pages

Read Brad’s Research profile

Read more about Research at LCC

Making comedy from tragedy // Inspirational story behind LCC alumna’s prize-winning designs

'Desktop Fireworks', Tomomi Sayuda, 2014.

‘Desktop Fireworks’, Tomomi Sayuda, 2014.

Tomomi Sayuda, an LCC BA (Hons) Graphic and Media Design (then Design for Interaction and Moving Image pathway) alumna, has just won first prize in the digital design category at the Ideastap Graduate Awards. Tomomi, who recently graduated from MA Product Design at the Royal College of Art, won for her fun piece ‘Desktop Fireworks’.

'Desktop Fireworks', Tomomi Sayuda, 2014.

‘Desktop Fireworks’, Tomomi Sayuda, 2014.

‘Desktop Fireworks’ is made up of seemingly plain, practical office stationery. However, beyond providing a place to store your pens, this stationery serves an altogether bigger purpose. On the activation of an extremely tempting big red button your mug becomes a disco ball, your monitor becomes a glitter cannon, and your drawers full of miscellaneous clips, elastic bands and blue-tack become a bubble machine!

On winning the first prize for her fun piece Tomomi states, “I am very proud to win such an honourable prize.”

'Desktop Fireworks', Tomomi Sayuda, 2014.

‘Desktop Fireworks’, Tomomi Sayuda, 2014.

Whilst the purpose of this piece and indeed all of Tomomi’s work is to make people smile, there is a personal tragedy that motivates her practice. When she was only eleven, Tomomi’s father, Kenichi Sayuda, committed suicide aged thirty-seven, due to extreme stress at work.

She explains “Since my father’s death I have become obsessed with finding solutions to stress, especially in the work-place. I have found that the most effective stress relief often comes from laughter. My work uses comedy, and creates a positive and surprising solution to a serious problem.”

'The Mask of Soul', Tomomi Sayuda, 2014.

‘The Mask of Soul’, Tomomi Sayuda, 2014.

Tomomi’s work has recently garnered press attention from the likes of Creative Review and The Sunday Times, and this week the BBC did a feature on her recent project ‘The Mask of Soul’.

Tomomi explains, “The mask gives its wearer the strength to be able to express themselves in public. It hides the speakers’ identity and the microphone picks up the speaker’s voice and in turn projects it loudly through the speaker on the top of the head-piece. Part of the project is a game in which people are invited to compete in shouting the loudest insults at each other. I was inspired to create ‘The Mask of Soul’ after having experienced a ‘karaoke box’. This unusual space allows its occupant to reduce stress through the almost primal release of energy!”

'The Mask of Soul', Tomomi Sayuda, 2014.

‘The Mask of Soul’, Tomomi Sayuda, 2014.

Read more about BA (Hons) Graphic and Media Design.

Read more about BA (Hons) Design for Interaction and Moving Image.

Visit Tomomi’s website.

Watch the BBC’s coverage of ‘The Mask of Soul’.

LCC MA Photography alumni collaborate for Bethnal Green show

pablo antoli 2

Pablo Antolí, ‘Fractures’, 2014.

Twenty-four graduates from LCC’s MA Photography course are currently preparing to exhibit new works and writings in an exhibition titled ‘Photography as Installation’ at Oxford House, Bethnal Green.

The MA Photography Alumni Group is designed to consolidate the relationship between MA Photography graduating students and its alumni, providing a network and a space to develop projects and exchange ideas.

The show features work by Peter Ainsworth, Pablo Antoli, Magali Avezou, Diane Bielik, Ella Bryant, Teresa Eng, Kate Elliott, Maria Gafarova, Jo Gane, Lydia Goldblatt, Jochen Klein, Richard Kolker, Kevin Newark, Elisa Noguera Lopez, Francesca Marcaccio Hitzeman & Federica Landi, Katja Mayer, Minna Pöllänen, Michael Rodgers, Ian Rudgewick-Brown, Marcello Simeone, Sayako Sugawara, Sara Wellenkamp and Adrian Wood.

Over the last 16 years, the MA Photography course has seen a significant shift towards installations and performativity in 2D, 3D and 4D. This development, in addition to a focus on the materiality of surface, will throw new light on what photography is today.

marcello simeone

Marcello Simeone, ‘The Unity of Perceptual Sensations’, 2014.

Marcello Simeone’s work explores the middle ground between intimate self-questioning and the ordinary, everyday experience. In ‘The Unity of Perceptual Sensations’, Marcello – in a quest for empathy – engages in a series of ‘sychronised’ walks with strangers on a busy street.

kate elliott

Kate Elliott, ‘The Study of Peter Pan’, 2014

‘The Study of Peter Pan’ by Kate Elliott is part of an ongoing project that aims to capture a person at the point in adolescence between childhood and adulthood, freezing that moment.

minna pollanen

Minna Pöllänen, ‘Wood on trees’, 2014.

Minna Pöllänen’s ‘Wood on trees’ is both a site-specific work and a series of photographs depicting an attempt to restore two dead birch trees in a forest in eastern Finland. By using scraps taken from wooden planks, the decaying tree trunks are covered with a new shell.

The trees’ progress is regularly checked and further additions made, and, due to weathering and occasional vandalism, the restoration never completes.

pablo antoli

Pablo Antolí, ‘Fractures’, 2014.

‘Fractures’ by Pablo Antolí is a project inspired by the geological processes that form mountains, valleys and gorges. By mirroring the sliding forces of the tectonic plates, the photographic prints are pushed, pinched and folded, enhancing the perception of space while disrupting the clarity of photographic representation.

katja mayer

Katja Mayer, ‘Lusus Naturae’, 2014.

In ‘Lusus Naturae’, Katja Mayer plays with the artist’s recurring preoccupation with mythical creatures, mushroom-like growths and themes of repulsion and desire.

Within drawings, sculptures and photographs, abstract sculptural objects resembling protruding growths are juxtaposed with organic material, found objects and painted surfaces. Shapes that recall a body, the insides of a body, cancerous growths or sexual organs evoke a visceral reaction, demanding a physical response.

The exhibition opens on Monday 6 October and runs until Tuesday 14 October.

Private View
Tuesday 7 October

Meet the Artists
Saturday 11 October

Read more about MA Photography

Visit the ‘Photography as Installation’ Tumblr

Visit the Oxford House website