Malina AlbustinBee Chee Chang

Yixin ChenWoo Sung Chun

Katia GanfieldDoyeon Gu

Yang HeSeulki Jang

MK KimSeohae Kim

Xingling LiAnisah MensahNour NaboulsiJoshua Noon

Chyi RueyChris-Irina Sela

Nikolas SolomosDylan Townsend Williams

CONTENT

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Malina Albustin

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thoughts curdle and clot

white noise

sour taste

and

my numbness makes it impossible

to decipher

the stirrings of

my stormy soul

fiercely free

Malina Albustin

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Bee Chee Chang

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I am an introverted thinker. My major concern is myself as an artist. I always ask myself, am I qualified? What has influenced me and how would I identify myself? Such questions sit in my head and will never go anywhere.

I often encounter an untrustworthy self when trying to answer such questions. I doubt myself whether I am strong enough to pursue my dream under any circumstances. I often get disappointed in myself for not living up to my expectations.

I desperately want to be in the creative industries. I want to create visual and audiovisual pieces that would offer people laughter and consolation. I expect myself to be capable and qualified. Then I ask again. Am I talented enough, am I persistent enough to realise my dream?

I am an introverted thinker. And I observe the thinker. And I documented her anxious state of mind with all my creativity.

Bee Chee Chang

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Yixin Chen

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In this project, people communicate emotion through gesture. While we control our world with our gestures, the gestures themselves are also shaped by our worlds.

Gestures can be just as expressive as faces are. They can tell stories, evoke memories, and educate us all at the same time. People can just use the gestures to express their internal feelings, moods and imaginations without saying any words. Gesture is an action that show a person’s feelings or emotional implications.

I collaborate with my subjects to expose their gestures and their personalities. Without the distraction of faces, these photos become honest and deeply perceptive portraits, reflecting the lifestyle, habits, and sensitivity of each subject.

Yixin Chen

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Woo Sung Chun

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Photography is my own world; everything in it is created, developed and destructed by me. It is about my true philosophy and spirit which cannot be found in a physical body. There are infinite potentialities in the photographic world that are impossible to be interpreted in verbal or written linguistic forms.

Vorarephilia: A paraphilia and a fetish in role-playing, involving the devouring of or being devoured by another person or creature, whether alive and whole, or gore and killing.

In these images, there are tensions between the one who exsists and the power structures above them. ‘Female’ and ‘Meat’ co-exist and oppose at the same time. Two subjects that share conoted meanings:

‘Cruel & Torture’ ‘Gross & Gory’ ‘Resignation & Lethargy’ ‘Abandonment & Suffer’ ‘Sex & Violence’ ‘Physical Isolation & Mental Corruption’

Furthermore, these two subjects maintain absolute balance in my photographic world which is unbreakable. They paternalise these balances between;

‘Living’ & ‘Dying’ ‘Fresh’ & ‘Dead’ ‘Enforced & Will’ ‘Free & Resistance’

Do not disturb.

Woo Sung Chun

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Katia Ganfield

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Although a wide range of subject matter and imagery was utilised, there is a core which is defined through capturing human sincerity. Capturing people in their purest form, and working with the photographer - rather than posing for the picture itself.

This is precisely why I documented situations in which the subject was working within a creative means or unaware of having their photos taken.

Mixing the use of both analogue and digital, together with using manual manipulation in front of the camera, all the photos are very minimalist in their edit, in turn outputting something raw and sincere.

Through this, I was hoping to blur the lines between a dream state and the reality in front of us, documenting something that’s real but allowing a different perception of it through the lens and blending of the colours.

Being an avid fan of the analogue form, there are attempts at recreating this through digital photos. This method in-volves manipulation of glass held in front of the lens. Prism glass structures combined with different light sources and purposefully shot grain, helps the photo have more of an analogue feel, and again this sense of capturing something more sincere.

Katia Ganfield

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Doyeon Gu

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People don’t realise that they leave product traces which reveal part of their identity. I am interested in these traces, as they can deepen my understanding of the daily lives people lead. When I walk down a street, I sometimes catch myself observing what’s on the ground, the walls, at windows, around corners, and so on, so I decided to start documenting them in my work. I find the street contains traces of our daily lives, even a bottle in the street or left on a fence has with it traces of people and objects.

As I am a stranger in London, I sometimes feel the age and unfamiliarity of the city. However, discovering the traces can create a level of intimacy for me. Although the city atmosphere is different between London and Seoul, the traces these places leave behind can create a similar mood, and as I track these traces, I notice this more. These photographs bring the viewer’s attention to dust, peeling paint and thrown away objects, things which we walk past every day without ever usually noticing. They reveal another side of the city, away from the metropolis.

Doyeon Gu

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Yang He

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When I walk on the road on my own, I start to observe everything.

The trees, the flowers, the people, or anything that adorns the landscape. When I “observe” and “read ” them, it seems to me that there are some hidden stories that I should scrutinise.

In today’s society, individuals easily access and enjoy high-tech devices, and this phenomenon has led plenty to blindness. People are more and more careless and tend to become estranged from nature, beings, their environment, and entourage.

This is the reason why I decided to use my camera and record those normal things in daily life. Also, I want to express my love of nature and life.

In terms of shooting skills, it is also a very interesting exploring process for me. Every time I find a new skill that can maximize the facticity of the object, I feel it is able for me to show more the real world to everyone, which satisfies me.

The final goal of my photography is to help people see places they are yet to discover, to appeal to them to use their eyes and hearts to re-understand the world and real life instead of staring at screens.

Yang He

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Seulki Jang

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This selection of photos shows my initial idea that photography is a medium that reproduces our memory. In this perspective, photography is not only a record of past recollection but is also a source of new experiences.

Public places such as high streets, markets and train stations are full of opportunities to capture memories of our routine. Although ordinary scenes seem familiar, they are always surprising, new and contain a diverse range of objects and its materiality.

Colour, texture, sharpness, lighting effects and movements create a mixed memory of common scenes. These elements organise the frame of photographs with various levels of visual density by including multiple objects in one frame. The composite images catalyse a multi-sensory memory via collective procedure. Meanwhile, my editing process has been developed to simplify the complex images in order to provoke an association of ideas.

The presented images enable us to make a journey from photographing the mundane to a moment; between what we saw and did and what we will memorise.

Seulki Jang

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MK Kim

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I am quite fond of the camera itself... I really am. The more photographs I take, the more I get fascinated by its limitations.

Photography would not have been so much fun if it was not for those limitations of the camera. Human eyes, marvellously designed and brilliantly clever, calibrate everything one sees wherever and whenever. It is autofocus, auto-exposure, white balance adjustment, or whatever it is, at its best. But what if a camera was ever able to work like that. What if a camera saw the world exactly as a human eye does.

Then it would not be so intriguing as it is now. I believe the mechanical limitations of a camera are not really limitations but an opening to the whole new world, a new way of seeing. Whenever I hold up the camera in front of my eyes, the viewfinder limits my vision; but actually it is offering the new, and possibly more intense sight through which I can ‘frame’ the world differently. The imperfect performance of the camera has found me such diverse and attractive ways to reconstruct what I see, the world around me.

So these are basically the pure moments of joy that my camera and I had together.

MK Kim

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Seohae Kim

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Small Bowl

Are you a small bowl person or a large bowl person? It is a Korean figurative expression. The large bowl person has a big dream and wants to be a person of unlimited resource. The size of bowl does not come at birth, but it is an acquired characteristic. However, people say we all need to be ‘a large bowl person’.

Some people could have a small bowl, but I think small bowl does not mean that they have a small dream. All dreams are valuable and priceless. I wanted to represent the confusion and conflict coming from the size of a bowl. There are tangled chairs in the studio and I placed a small cup beside the chairs. Those chairs represent someone’s eyes on our dream. It could be social position or salary. The cup does not look small without the chairs. It stands by itself strongly. However, when it placed with the tangled chairs, it looks anxious and unstable.

Does small bowl really mean that they have small dream? Can we measure the size of someone’s bowl without knowing well about them?

Seohae Kim

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Xingling Li

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It is difficult to explain the reasons why people take selfies. In my opinion, selfies bring a sense of self-focus, self-protection, self-disclosure and self-invention.

These images were taken in a hotel in Vienna. With the onset of evening, the lights in the city began to shine and so I turned on a lamp which, when combined with the dim lights, caused the pure white curtains to become tinged with yellow, warmth and peace. These curtains billowed lightly as they were caught in the wind. I always hide behind curtains as they form a kind of psychological protection for me. All other sounds from the outside are cut off, leaving me in my own world. In moments such as these I am able to give all my attention to myself, directly expressing feelings and emotions and recreating myself.

This does, perhaps, demonstrate a feeling of isolation, but I enjoy the feeling nevertheless, knowing that I will not be disturbed.

Xingling Li

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Anisah Mensah

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“The use of traveling is to regulate imagination by reality, and instead of thinking how things may be, to see them as they are.” – Samuel Johnson

Ibiza has always been known for it’s wild parties, loud music, and lots of alcohol. Personally I have to confess I was one of those who visited this little island in the Mediterranean Sea simply to drink, dance and have a good time.

After a overload of partying and socialising, I found myself escaping the city of Playa De Bossa where it is filled with drunken hardcore British clubbers and getting closer to nature. Early one afternoon I decided to take a ferry from Ibiza Town to Formentera where I was stunned with it’s turquoise sea, blinding white beach and breathtaking sunset. This is where I photographed the true beauty of the island.

After taking these photographs I find myself wanting to continue my journey of travelling and capturing places I have never seen before.

Anisah Mensah

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Nour Naboulsi

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Home

My final year images express how much I miss home while studying in London. The memory of venues from my hometown seem always with me wherever I go, reminding me of my loved ones whose voices keep me warm during the winter months. For this reason, I decided to dedicate this topic to my hometown Abu Dhabi, the capital of the United Arab Emirates.

This is the place where I was born, raised and groomed before coming to London. To share this particular memory, I focused on street views from different places in Abu Dhabi, home to the trendiest mall (Yas Island Mall) and to the fastest roller coaster (Ferrari World). Staying within the City limits was important to unveil the basics of Abu Dhabi, readily recognized by the foreign eye as landmarks. Also transpiring from my pictures is the melting pot of cultures and religions Abu Dhabi enjoys: unlike the common belief that daily life may be restricting, my hometown is host to the fashion spectrum that one may encounter in the most cosmopolitan capitals of the world. In fact, growing up in Abu Dhabi is beneficial because it allows interacting with various cultures starting from the tender age of childhood.

Nour Naboulsi

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Joshua Noon

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To capture a split second of time, but have that moment last for a lifetime is of great importance to me. Photography allows me to create a debate, commenting on societal and political issues, it is a way to involve myself in the public sphere and have my voice heard. The most interesting photos for me are the ones which arouse questions. People say an image holds a thousand words, but I believe these words can only come to being if the viewer is inquisitive of the work. Therefore, I don’t feel that my art (or any other art, for that matter) can be truly complete without the need to ask questions. The biggest challenge that I face with my work is ensuring that the images I produce have such a desired effect. If I do not challenge myself, however, I am not interested in my own work, and so lose the confidence required to keep creating artistic photographic debates.

India’s inescapable culture of entrepreneurship is one which exceeds anything I have ever experienced. The lengths that some individuals go to in order to survive day-to-day life is extraordinary and these images tell the stories of their unrelenting involvement in India’s ubiquitous marketplace.

Joshua Noon

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Chyi Ruey

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I love taking photos. I began consciously carrying around my film cameras wherever I go, so I am able to take photos on the go. I absolutely love the texture and colour of film photography. I like to play around with my photos to seek interesting combinations. The magic of photos is that we never know what connections we will create and see when we put different photos next to each other.

There are repeated colours that appear in my different series. For film photography, I find less importance in the colouring of the photos and more in the process of shooting instead. This process gives me the liberty to be in the moment, as opposed to planning what colouring looks best with certain shooting subjects.

I’ve started to relish the spontaneity of capturing moments that grab my attention. It lets my instincts stay impulsive and sharp. However, if I miss the shot that I want to take, the image will still be ingrained in my mind – the missed opportunity is almost like a regret in life. Taking photos is a way to express my inner-self, my thoughts, my opinions and my sense of humour. I believe a photo doesn’t have to speak louder than anything, but it can definitely speak for itself.

Chyi Ruey

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Chris-Irina Sela

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I haven’t found it. No, I haven’t found my voice.

Somewhere deep inside, my psyche, my spirit, my soul, struggling to come out. Images come to my brain as a flow of ideas seem to be banging at the door.

In each narrative, in each face, you will find a part of me. When I look at the Other, I see in him or her what I could find in me. The style is young and confused despite years of practicing. It’s afraid and a bit shy. Yet, it’s also persistent. More than the technique, I follow the heart. It sometimes takes me to social documentary, it’s often staring intensely at a more abstract genre. I chase shapes, shadows and lost eyes. I want the image to make a noise in your ears, one that you can never block. I remember a much younger self, discovering the happiness in the paper, the light and the darkness. I remember knowing that this opposition was one that came from real life.

So with a few different shades, I’ll try to tell you how it feels. How it feels to be them, how it feels to be me. How battles are won, you see.

Chris-Irina Sela

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Nikolas Solomos

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A strand of development in both my academic studies and my working experience has surrounded the advertising and marketing industry. It is an industry spoken of as the ‘fixers’ of capitalism. In my experience however, it does pay forensic and even sociological attention to wider cultural and social significances.

Advertising is becoming increasingly ubiquitous and ‘native’. Presented upon the matrix of platforms and surfaces we come in to contact with on a daily basis, its production struggles to attract a societal attention span that is increasingly fickle and volatile.

In my own work I have attempted to present the remnants of price promotions and on-screen displays, evoking one of the most highly valuable commodities in the industry; lived experiences, memories of surfaces, colours, textures and ultimately products.

Memories may be somewhat intangible but my work seeks to explain these intangible elements through the depiction of physical actions such as tears and squeezes. These remnants of advertising, are as much of a visual reconstruction as a physical experience for my own audience, or to use industry terminology – my universe.

Nikolas Solomos

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Dylan Townsend Williams

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For me, photography is about creating an aesthetic order within the precarious landscapes that surround me. But depending on how we crop our surroundings and aesthetically align the world, these images have the capability to trigger and alter memories and fantasies in quite profound ways. I use the viewfinder to capture in a photograph what my eyes are incapable of fully appreciating: I use my curiosity and instinct as a compass to direct me closer to my essence.

This body of work ties together my appreciation for light and shadow in a multitude of different surroundings. The beauty is created within the order of the frame and not by the object reality; whether I’m situated in an idyllic realm, or a bleak and defeated environment, this selection of images aims to challenge existing hierarchies of importance by elevating the mundane and placing it in juxtaposition to more formulaic ideas of aesthetics. I give the apparatus purpose where the apparatus gives me meaning. The art of photography allows me to find an aesthetic equilibrium wherever I go.

Dylan Townsend Williams

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