“Folkestone is a hidden gem – inspiring, by the sea, relatively affordable, and only an hour from London,” says Lee Brodhurst-Hooper. “It is easier for me to be a photographer here. I can afford to be an artist here, and I couldn’t in London. There is a thriving creative community, with lots of active, enthusiastic, friendly people who want to push the agenda for the town forward. “But at the same time it is a town struggling with its identity. As one of the 10% of most deprived areas of the country, it has high rates of deprivation and low scope in terms of jobs and careers. There is dilapidation, it is rough around the edges, there are barren spaces and roads you should avoid.” Originally from the Midlands, Brodhurst-Hooper moved to Folkestone two years ago, after a long stint living and working in London. Studying first at the University of East London and then on the prestigious MA Photography at the London College of Communications, he had built up a successful career in trendspotting, picture …
Kathleen Fox-Davies and Anna Kirrage first met when they worked together at a Mayfair gallery. Eight years later, they’ve set up their own outfit – Black Box Projects. “We always attended art events together, so we retained a continual dialogue about the art market and our respective interests,” Kirrage tells BJP. “We have always worked in small businesses where there wasn’t necessarily room for growth, so the obvious step was to start out on our own.” Fox-Davies is a photography specialist with over a decade of experience in galleries such as Michael Hoppen, Hasted Hunt and ATLAS, while Kirrage’s experience is in managing art organisations’ PR and strategy. Drawing on their complementary skills, they’ve decided to break the traditional gallery mould and will run Black Box Projects as a series of pop-up installations, rather than opening a permanent space.
“The Garden Gate Project has a reputation in my neighbourhood,” says Jason Evans, who has just published a zine with participants from the Margate-based charity. “Established almost 20 years ago for people with learning difficulties and/or mental ill health, the Garden Gate Project is visited by various members of the community for a range of seasonal activities.” He was volunteering there two years ago when the organisers realised he was a photographer, and invited him to come up with ideas for the programme, which centres mainly on Horticultural Therapy. His first project with GGP was Tool Shed Dark Room, which saw Evans improvising with participants “without mains electricity or an enlarger to make photograms using materials from the garden”.
From an East End council block to the winding roads of the Westway, Luxemburg captures the illuminated landscape of London after dark
Intrigued by the unknown and obscure, the Austrian photographer delves beyond what first meets the eye
London-based photographer Rosie Matheson has worked on a number of editorial projects for clients such as Nike, Adidas and The Financial Times, whilst evolving her own self-initiated projects. Her most recognisable series, Boys, celebrates the diverse and vulnerable beauty of young men. In 2016, she entered one of the photographs from the series, Elliot, into Portrait of Britain, and the image instantly became an iconic marker of British inner-city youth. Since her great achievement for Portrait of Britain 2016, her work has gone from strength to strength. She has begun a new project in LA, whilst also working towards releasing Boys as a book. Rosie has been featured in several publications, including Dazed, i-D and The Culture Trip, garnering national attention with her intimate, documentary-style portraits of young men and women across the world. Can you tell me about the photograph you entered into Portrait of Britain in 2016? I was first made aware of the subject of the photograph, Elliott, through a mutual friend. At this time, around December 2015, Elliott was spending most …
“The end of war does not mean peace,” says Sara Terry, founder of The Aftermath Project. “Every story of war includes a chapter that almost always goes untold – the story of the aftermath, which day by day becomes the prologue of the future.” It was in September 2000 that Terry decided to go to Bosnia. Six weeks earlier she had come across a story reporting on so-called ‘Bosnia fatigue’, the factor that meant that, five years after the end of the Bosnian War, the reporters were long gone and the international aid agencies were shipping out. Frustrated by the idea that people could forget what had happened, Terry felt compelled “to capture the images that are the all-too-often forgotten companions of the vivid pictures of war itself.” Terry had started out as a print reporter but went on to produce formative photographic work in Bosnia, which she published as Aftermath: Bosnia’s Long Road to Peace. The experience also led her to set up The Aftermath Project in 2003, with the aim of telling post-conflict stories from around the world and throughout time.
“They’re all driven by motivations that are both personal and political to a degree, and they are all self-initiated projects,” says curator Alona Pardo of the photographers in the show Another Kind of Life: Photography on the Margins. “Some may have started as commissions, but very early on took on a life of their own. It was interesting to think about the role of the photographer, because often the photographer hides behind the camera as a facade. There is also an interesting subtext of the photographer occupying the position of an outsider within mainstream society. They are there, assertively documenting the world.”
KABK’s first photography MA will explore the power of the medium to incite debate, dialogue, and even change
View our gallery of last year’s winning portraits for inspiration here. BJP welcomes entries for the third edition of Portrait of Britain, the UK’s biggest public art exhibition “I was thrilled to be chosen as one of the photographers showing in Portrait of Britain,” says 2017 winner Brock Elbank, “I love the idea of the gallery being in a public space, and part of my portrait practice has always been to champion the complexities and beauty found in ‘ordinary’ people and everyday life.” Portrait of Britain is an exhibition by the people, for the people. Each year, 100 winning photographs are exhibited on JCDecaux screens nationwide, which appear on high streets and roadsides, and in transport hubs. The accessibility of the exhibition goes hand in hand with its subject matter – as much a celebration of our country’s people as it is of photography, Portrait of Britain aims to reflect the many faces of modern Britain, and to show the unique culture and diversity of its people. From casual snapshots and selfies to images from …