Guest Feature - Mauro Cocilio

This is a selection of photographs documenting the homeless in London, which I started in 2018 and I returned to it in 2020 during lockdown. In central London, in almost total closure, I explored the streets to look at the situation of the homeless and how that had changed during the pandemic. While many people on the streets had been supported and housed in hotels, not everyone had this help, and some became homeless during this period having lost their job.

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This documentation started with the desire to look at homelessness, understand the issue and try to connect with those affected by it. Why, in such a wealthy city like London, have so many people ended up on the streets without a home? People shared their stories with me, sometimes they chose not to talk about their personal experience but still agreed to have the meeting documented.

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Born in Sardinia, photographer Mauro Cocilio studied photography at both the European Institute of Design in Rome and Westminster College in London. He has covered subjects as diverse as backstage fashion during London Fashion Week, the everyday experience of people from Eastern Europe and London, orthodox religious communities, underground clubs and the transgender scene. His work has been published in Dazed & Confused, The Independent Magazine, I-D, Modern Painters, Creative Review, The Wire, Fashion Now 2, Modern Menswear and online at SHOWstudio.

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Guest Feature - Yassen Grigorov

"Exemplary Home" is a documentary work exploring the north-western part of rural Bulgaria. It aims to illustrate the effects of rapid urbanisation and progressive globalisation on the most vulnerable parts of Bulgarian society. It engages with the surreal air of the province and its people through the viewpoint of a Bulgarian expatriate, returning to a landscape leaden with childhood memories. This moment led to the discovery of an intersection of narratives, spanning the periods of The Bulgarian Renaissance, through the Soviet and now Post-Soviet era. The commentary feels particularly relevant in today’s time, with the tide on globalisation turning towards increased disunion.”

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I left Bulgaria immediately after graduating high school to study photography in the UK. By that point in my life I had already grown distant and frustrated with the life and mentality in the Republic, so I fully embraced London. Through meeting and interacting with so many people from all over the world and progressively growing to recognise the value in their diversity and by extension, national, ethnic and social identity, I started questioning my own negative views of my home country. Exemplary Home was a return to the roots of my family, tracing them back to the birthplace of my grandparents, and trying to figure out and untangle this ball of complex narratives and socio-political issues that have been affecting Bulgaria since the collapse of the Union by going to the places that have been most severely affected by all the changes. At this current stage I feel like I’ve finally “forgiven” Bulgaria and resolved all that angst and frustration, and I’m excited to build onto this foundation and to embody this trailblazing mentality of how my generation can really build up a framework for cultural and artistic appreciation back home.

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“Образцов Дом” (translated “Exemplary Home”) refers to the text found on enamelled signs, that were provided by the Communist party to homes which met certain living and tidiness standards under the regime. These signs are still commonly found, gracing the walls of most houses in the countryside and are one of the most recognisable and memorable symbols of the Party to this day.

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Yassen Grigorov is a Bulgarian-born, London-based photographer. He moved to the UK to study at the University of Westminster in 2017, and graduated with a BA in Photography with First Class Honours in 2020. During that time he developed keen interests in a variety of subjects, ranging from fashion, architecture and design, to philosophy, artificial intelligence and sociology. 

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MAP6 Update

It’s been a trying twelve months, but now that we are easing out of lockdown the world feels fresh with new possibility. Undeniably it hasn’t been easy working collectively, but MAP6 have remained busy behind the scenes through having monthly online meetings, making new work and planning projects for the coming year.

© Richard Chivers, Brighton 2021

© Richard Chivers, Brighton 2021

Firstly we are very excited to announce that we are working on a new book. As we approach out tenth year as a collective we thought the best way to celebrate this was with a new publication. We are currently in the final stages of shaping the book and hope to have pre-orders available soon.

MAP6 members have also been editing work through online meetings and feedback sessions. Coming from a culture of discussing prints intimately around a table, collaborating online has been a new way of working for us as a collective, and has proved to be a useful way of remaining productive. Putting this to the test, during the past few months we have been working on a project that has been a way of us playfully responding to our own personal experiences and being isolated from one another. A taster of this new work is featured on this update, but we will be sharing lots more images and information about the project soon.

© Mitch Karunaratne, London 2021

© Mitch Karunaratne, London 2021

© Mitch Karunaratne, London 2021

© Mitch Karunaratne, London 2021

© Aaron Yeandle, Guernsey 2021

© Aaron Yeandle, Guernsey 2021

Over the past couple of months we have also been planning our next collective venture for a new major project. We are really excited to work together again on location. For now we are keeping the project under wraps, but suffice to say it will be keeping us within our roots of making work about people and place, but with an interesting twist to help us to work collaboratively in a different way.

© Barry Falk, Eastbourne 2021

© Barry Falk, Eastbourne 2021

Currently we are also developing our online shop to incorporate print sales to help us fund the production of further work, so keep an eye on our website for updates if you are interested in purchasing limited edition prints. Furthermore we also have new member Aaron Yeandle on board, who has already proved to be an exciting new addition to the group and will be coming along on our next trip. Finally, we have also been organising an exciting line up of Instagram takeovers and website features from guest photographers, so be sure to keep an eye on our Instagram feed.

© Paul Walsh, Arundel 2021

© Paul Walsh, Arundel 2021

Guest Feature - Oliver Tooke

In 2014 I was in a boat crossing the Tigris river from Syria into Iraq, when an American journalist remarked in awe of all the things the river can and had seen. It travels through Mosul (at the time, occupied by ISIS), and then Baghdad and Basra. Multiple cities, histories and civilisations, all laid out along the same thread. Gilgamesh, the ancient king of Mesopotamia, crossed waters by boat in search of eternal life. Unlike Gilgamesh, I wasn't too sure what I was doing there. I have memories of my childhood, being driven to school everyday and hearing the news on the radio of the Iraq war. Growing up with the war as a backdrop brought up difficult and confusing questions about the role of the UK in the world. Are we a force for good? Why are we really there? Was Iraq really a danger to us? Was it right?.

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I like to tell myself that the river has a memory. The river watches over the on-going civilisations, seeing the signs, symbols and patterns of life fade away over time. Re-emerge many lifetimes later, though their former meanings may be forgotten. Like the erosion and break up of rocks into pebbles in the river bed, memories fade and collect. I returned many times to the river. My subjects an odd collection of events, non-events, scenes and subjects, found near or on the banks that this water has cut, in a place that had some strange abstract connect to my teenagehood.

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This project, "Bildungsroman", is the first part in a series of three separate, but connected projects, set in the Arab world and Europe, titled "Arabia Opus 2014-2020". The projects follow the Tigris river through Iraq, explore the Syrian crisis, and then wander out into the Arabian landscape. Each project looks at different subjects and universal themes, and the overall series seems to be my response to issues with globalism, power, and impressions made upon me during my teenage years, particularly with the Iraq war and War On Terror."

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Oliver Tooke is a British photographer based in Bristol. He is currently on his final year of the MA Photography course at the University of the West of England. During his studies he has been shooting and consolidating a series of projects that he has been working on for almost seven years. All of the projects are still a work in progress, but this year he is working towards a self published set of booklets of the work titled Arabia Opus 2014-2020.

olivertooke.co.uk

Guest Feature - Conor Graves

When the UK government enforced the third national lockdown I took it upon myself to explore and document my hometown of Chesterfield due to having time and freedom on my hands. Having grown up in Chesterfield the majority of my life, and recently moving back there in early 2020 after studying in Manchester, my perspective on the place had changed significantly; this providing me with a great appreciation of the town. 

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I have been using my time to document the town, photographing the mundane and banal landscapes that I would have usually overlooked a few years ago. Due to the lockdown I have been able to photograph areas that would usually be full of life, however my images cause feelings of the opposite, creating a sense of eeriness and thoughts of where and what people are spending their time doing during the pandemic. I have also spent time exploring areas of the small historic market town, as well as visiting nostalgic places that have greatly influenced my life.

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Conor Graves is a documentary photographer that has recently graduated from Manchester Metropolitan University. His practice is heavily based on the documentary aspect of life, and often focusses on the mundane and banal places which ordinarily go unnoticed. Being from a typical working class British background inspires him to work on projects that raise questions about the everyday British Landscape.

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Guest Feature - Melanie Hüebner

The latest work by Melanie Hüebner looks at sacred spaces in Berlin where she is making pictures of different temples, churches and mosques and recording sound during ceremonies. The focus of the project is on the transcendental and multicultural face of Berlin‘s urban society and its religious beliefs. The project is a collaboration with the Berlin Forum of Religions, to visually and acoustically depict a variety of sacred interior spaces. Berlin‘s intention is to follow a religious-philosophical idea of tolerance which currently manifests itself in the coexistence of around 250 valued religious and ideological communities. In order to promote this and to provide an impetus for other urban societies, the project seeks to create an inner-city, as well as international dialogue, between cultural institutions and religious communities.

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The photographs are produced from the central perspective of the interior spaces and use existing light sources. In doing so, the space is depicted in its natural state. People or groups do not appear in the images and sound recordings of prayers or chanting will accompany the photographs, to heighten the personal experience for the viewer.

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Melanie Hüebner is a photographer based in Berlin. She originally studied at the Folkwang University of Arts around which time she worked intensively on analogue techniques within a black and white lab. In 2015 she completed her diploma at the Folkwanghochschule. She has worked on numerous projects that have been exhibited internationally, and her work The 12th house was seen at the Museum für Angewandte Kunst in Gera, at the Wiesbadener Fototage and Sommersethouse in London.

melaniehuebner.com

Guest Feature - Sapphire Stewart

During April last year I had to move out of my boyfriend’s house in Bristol and back to my family home in Farnham due to Covid-19. This caused me to examine the relationships I hold between my boyfriend and my family and explore the changes I went through as I had to switch from the role of lover to daughter. Upon reflection, this project was a means of self-exploration, realisation, and transformation.

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During these unusual circumstances, the camera became a tool in which to distract, release, and understand. This body of work that I have created is much more than I can put into words. I believe a photograph can capture an essence that one cannot see with the naked eye. Something that would go unnoticed. Something timeless. Something the mind simply cannot understand.

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Sapphire Stewart is a photographer based in the South East. Her key interests lie in the role of narrative, specialising in documentary, fine art, and portrait photography. Her recent projects have explored areas that are emotive and delved into self-exploration, seeking to examine and disrupt the conventional. Sapphire has a BA Hons in Photography from Bath Spa University.

sapphirewstewart.co.uk

Behind The Image - Chloe Lelliott

Chloe Lelliott shares the story behind her fleeting encounter in a London hotel foyer.

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Describe the image.

A smart male figure is waiting in a foyer standing in front of curtains

Where was this photograph taken.

London Hotel Foyer - I can’t remember which as I photographed in so many...

Why was this photograph made?

The photograph was made as part of a series called Halcion Lounge which explored various hotel foyers. I was interested in transitory spaces and hotel foyers as they were a place where lots of people's lives would cross. I liked the snatched pieces of conversations and to imagine all these anonymous figures' stories, where they had been, why they were here.

What was happening outside of the frame.

The image was taken with a tripod and a Mamiya medium format camera. The Camera is quite ancient and makes lots of mechanical sounds, so it was not always easy to be incognito! I was photographing something else when the man came through the door, which I think led to a conference room. He seemed to be having a quick break and adjusted his tie, there was something really elegant about how he stood amidst the curtains. I only got two shots before he went back inside.

Tell us a key fact about this photograph.

It helped me to start to include more people within my work.

Why is this photograph important to you.

It’s probably my most exhibited image and has been successful in that way. It is a simple image but for me it has an elegant melancholy feeling to it, and for some reason I find it quite haunting, perhaps because I never got to see the man's face. There is a stillness and ambiguity that I enjoy and it gave me the confidence to use people more in my work. Halcion Lounge was the last series that I shot on my Mamiya, and this image is a reminder of that period using that camera.

Guest Feature - Andrea Pirisi

La Crocetta is the first workers district of Modena, an area consisting of many unused buildings. The presence of these industrial settlements was largely connected to the residential areas that housed workers. The abandonment of the production cycle has changed the face of the area and its relationship with the rest of the city. Today the old roads and the railway lines, which connected the area to the city, are left abandoned as nature slowly takes over. I feel that it’s important to preserve the historical memories of this place.

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Born in Mantua, Italy in 1971, Andrea graduated with a degree in architecture before attending the Masters of Fotodesign, Form and Image-Formafoto at NABA in Milan. There he studied under the photographer Gabriele Basilico. His photography is an interpretation of architectural space where he explores the city with a technical camera, specifically a Silvestri Bicam III and a Hasselblad medium format camera with both a film and digital back.

www.andreapirisi.com

Guest Feature - Rhombie Sandoval

Heima, which means Home in Icelandic, is a collection of portraits and their corresponding stories created during my residency in Seydisfjordur, Iceland. Inspired by my interactions with the close knit community, with a population under 700, I began to discover home 4000 miles away from my own. 

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Maggie is a poet and performance based artist. Her performances are layered with levels of complexity as she questions the variety of roles she plays in life.

Maggie is a poet and performance based artist. Her performances are layered with levels of complexity as she questions the variety of roles she plays in life.

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Cordula lives in Demark while she fixes up her home in Seyðisfjörður. Her house is called Breidablik which has three meanings, my favorite being the light connecting the sky and earth. She works as a carpenter, building most of what she brings to Br…

Cordula lives in Demark while she fixes up her home in Seyðisfjörður. Her house is called Breidablik which has three meanings, my favorite being the light connecting the sky and earth. She works as a carpenter, building most of what she brings to Breidablik in Denmark before transporting it back on the ferry.

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Elgur is an offspring from the only stallion her Father has bred. Elgur had been to three different trainers but none of them succeeded. Her Father decided to give it a try, riding him in deep snow so it was less likely he could run away. “He was ve…

Elgur is an offspring from the only stallion her Father has bred. Elgur had been to three different trainers but none of them succeeded. Her Father decided to give it a try, riding him in deep snow so it was less likely he could run away. “He was very closed off and afraid, but curious, and therefore I connected with him. I remember feeling like a hero, 16 years old riding this crazy horse that everyone gave up on. Although he is blind, I still ride him, he's my round up' horse.” Their trust in one another allows Sunna to take Elgur anywhere. “I've fallen off him so many times, but he always stops and waits for me to get back on. He understands me, and I understand him so well. I can't really explain it better, it's just a feeling.”

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Nick is a noise performer and is often paying attention to the details of objects that come across his field of vision. He frequently stopped by Heima on his bike to drop off or pick up supplies. We once went dumpster diving at the local market. He …

Nick is a noise performer and is often paying attention to the details of objects that come across his field of vision. He frequently stopped by Heima on his bike to drop off or pick up supplies. We once went dumpster diving at the local market. He stood in the dumpster looking at whatever he found to see what sound it would produce.

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When I met Dagrun she was in need of a friend. There is only one other student her age attending school with her. Among the other things bothering her, I imagine that alone could make you feel lonely. Dagrun’s name means secret of the day. I feel sh…

When I met Dagrun she was in need of a friend. There is only one other student her age attending school with her. Among the other things bothering her, I imagine that alone could make you feel lonely. Dagrun’s name means secret of the day. I feel she trusts me to keep it that way.

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Rhombie Sandoval is a photographer and storyteller from Southern California. Her entry into photography started after receiving a camera as a gift from the Make A Wish Foundation, a gesture arranged on her behalf due to being born with heart disease. With the camera, Sandoval realized she could navigate her shyness and connect with people using the camera as a tool to understand various vantage points, searching for and highlighting the common themes linked to one’s identity and location. Sandoval later studied Photography at Art Center College of Design. She is also the founder of Anywhere Blvd, a platform which features portrait photographers by promoting the narratives of their subjects.

www.rhombie.com

Guest Feature - Dimitris Rapakousis

Acharnon street is situated in the historic center of Athens. Unsurprisingly, it has been labeled a ‘ghetto’, a place without an entry or exit to be found on the fringes of a metropolis. Houses and apartments around Saint Panteleimon, the central church of the neighbourhood, are occupied by immigrants who have come here with the dream of a better life, bringing their families along when they can. These people form a new class of citizens, facing fierce prejudice not only from the authorities but also from a part of society. In fact, this is the area where the first pogroms were organized by the right-wing extremist groups of the country, including Chrysi Avgi.

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The degradation of Acharnon Street began after the Olympic games of 2004, while today the limits of what is legal and what is not are not easily discerned. Acharnon Street has become a melting pot for brothels, institutes for drug rehabilitation, gambling houses, as well as people of all religions, ages and professions-Orthodox, Muslims, Hindus, money-lenders, old and young-try to openly co-exist. Acharnon Street narrates their stories, constantly raising an important and timely question that the Greek society needs to answer: is it ready to accept and integrate differences?

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Dimitris Rapakousis was born in 1981 and lives in Athens. He graduated from the ‘Focus’ School of Art Photography, Video & New Technologies in 2010. He has been working as a freelance documentary photographer over the past 10 years, collaborating with international agencies like Associated Press (AP) or Agence France-Presse (AFP) and the Greek magazines Epsilon, Unfollow, Vice and Kathimerini (K-magazine). He is a contributing member of the Depression Era collective project, which was founded in 2011 and pictures post-crisis Greece.

rapakousisphotographer.com

Behind The Image - Aaron Yeandle

Aaron Yeandle describes his fortuitous encounter with a woman in a housing care complex in Guernsey, the Channel Islands.

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Briefly describe the photograph    

Pam is central in the image, above and behind her there are three images. On the right is an embroidered young child. In the centre there is an image of a white angel, which is strangely coincidental because Pam always felt there was an angel behind her shoulder watching out for her. On the left there is a verse which says:

‘’They who wait upon the Lord shall renew their strength; they shall mount up with wings as eagles; they shall run, and not be weary; and they shall walk, and not faint’’.

Where was this photograph made?

Les Blancs Bois Housing care complex, which is in Guernsey the Channel Islands.

Why was the photograph made?

This portrait of Pamela Margaret Bourgaize is from the Voice-Vouaie project. The project is a social and historical body of work which captures the last original native speakers of the Guernsey endangered language. The work is comprised off intimate portraits and images of their personal objects. The project was three years in the making and all of the portraits have been taken in people’s homes, showing their private environments.  

What was happening outside the frame?

We began by chatting over a cup of tea before I decided on the location where to take Pam’s portrait. After the portrait was taken Pam started to tell me about her life and her religion, and how in many ways it saved her through miracles. Pam’s life story was fascinating and at times sad and distressing but it made this portrait even more poignant. 

Tell us a key fact about this photograph.

Pam went to live in Canada in her 20’s and worked as a radiographer and a clinical instructor for eleven years. Then out of nowhere she became extremely ill, suffering from non-stop migraines and uncontrollable vomiting. Pam also started to suffer from amnesia at the same time. After a long period of trying to diagnose what was wrong with her the doctors discovered she was suffering from Spinal Tubercular Meningitis, which is exceptionally rare in the western hemisphere. During this period she had numerous brain operations and almost died on several occasions. Her life was never the same and even to this day Pam still suffers from major health issues. She explained to me, ‘‘The only way I kept going was through Jesus and his miracles and with the power of God. I felt like God and his Angels were over my shoulder watching and protecting me.’’

Why is this photograph important to you?

I took the portrait before she had explained her life and beliefs. The reason why this portrait stands out is because there are many fortuitous conjunctions happening behind the scenes. I could have placed Pam anywhere in the apartment, it was my choice to ask her to stand in that part of her flat with the angel. Furthermore, when I asked Pam for a personal object of hers to photograph, she brought her Bible which was the same colour as her dress that she had not worn for 40 years. When I placed the Bible on the carpet to be photographed I noticed that the carpet, Bible, the chair and Pam’s dress were all shades of the same colour. This is why I love photography, there are so many coincidences that can happen, with or without you knowing about it.

Guest Feature - Antonis Giakoumakis

Chania summers in Vafe, at the house of aunt Katina and uncle Sifakis. Every evening, returning home from the cafe, uncle Sifakis, with his strongly emphasised wrinkles at the corners of his eyes brought the trophy. A Turkish delight! "Come Antonios, eat, I won it in backgammon"! He always won at backgammon, taking home the trophy which was always a Turkish delight.

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Cafes and patisseries are meeting places for a coffee, a dessert, a meze and a raki. Places to inform the community, reminisce about the past, exchange positions and views, hangout and read the newspaper. In Greece cafe tradition still remains alive and necessary and resisting the ‘social networks’ of modern times. The faint coffee coming out of the embers, the smell of roasted chestnuts on the stove. Wandering around the Greek countryside and Athens where I live, I photograph what has an authenticity, is unadulterated and retains the unique atmosphere of a previous era.

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Antonis Giakoumakis was born in Chania, Crete but now lives in Chalandri, Attica. He has been photographing since 2012 and has since participated in numerous group exhibitions and competitions. He is also an active member of the photography group PHOTOPIA. With his photography he aims to create stories, but is also interested in creating an atmosphere which may urge the viewer to create their own narratives.

www.antonisgiakoumakis.com

Guest Feature - Sari Soininen

Transcendent Country of the Mind is a project exploring my encounters with and perceptions of alternative dimensions of reality. In my early twenties, I experimented with LSD regularly and excessively, and eventually experienced an extended psychotic episode, which had serious consequences on my own life, but also profoundly changed the way I perceive the world and reality itself. During this time, I abandoned all my worldly possessions; I confronted the demons of Hell and was shown the wonders of Heaven; I travelled through time and space; I peeked behind the curtain of this dimension and - even today, having fully recovered - my understanding of reality has changed forever. These photographs represent this perspective and offer others similar glimpses behind the curtain. 

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This project is not strictly related to any specific physical space in the world - It is more an exploration to the mind's relationship to the world as an entity around us, which I think, is a very complex relationship, if we think about the mind-body problem for example. Also, referring to quantum mechanics, it seems that the way we see the world is fundamentally different to what the world actually is. So to me, the relationship between my mind and this physical space where I operate in, is a never-ending compelling mystery.

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Sari Soininen (b.1991) is a Finnish photographer based in Bristol, United Kingdom. Sari holds BA from Lahti Institute of Design, carried out exchange studies in Edinburgh College of Art and is currently studying MA Photography at UWE, Bristol. Her colourful otherworldly photography draws from philosophical thoughts and personal mystical experiences. 

www.sarisoininen.com

Paul Walsh - New Series

Following old drove roads, along borders and pilgrimage routes, by rivers and past historic landmarks, National Trails help to trace the history of walking in the UK and pass through some of the most important and challenging landscapes in England, Scotland, Wales and Northern Ireland. Over a period of three years I intend to walk ten long distance National Trails, in order to create a series about connecting with nature through walking.

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Jonathan“There is something about nature, in someways it’s the only real thing in the world. Walking connects me with nature and that sense of the real. When I set out on a walk I enjoy the challenge and get satisfaction from making it to the end, n…

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“There is something about nature, in someways it’s the only real thing in the world. Walking connects me with nature and that sense of the real. When I set out on a walk I enjoy the challenge and get satisfaction from making it to the end, not many things in life give you the same satisfaction. When I walk my mind quietens and falls in time with the rhythm of my feet and I am completely absorbed. I like walking with my wife, we can walk all day without speaking and come home feeling like we have shared something meaningful”.

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Samuel“I went through a period of inactivity and started to go for walks to escape the house. I remember walking through the woods and realising how much clearer I could think. I began to realise the mental health benefits of walking and its now bec…

Samuel

“I went through a period of inactivity and started to go for walks to escape the house. I remember walking through the woods and realising how much clearer I could think. I began to realise the mental health benefits of walking and its now become fundamental to my happiness. I try to avoid driving as I feel that in some ways cars contribute to people’s unhappiness. Their presence has completely changed the landscape, promotes isolation and has contributed to the destruction of community. If you walk you keep fit and it gives you the opportunity to interact with people.”

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Rebeca“Walking is such an existential activity that makes me feel alive in the world away from my desk and computer. It feels purposeful, like I am going somewhere. If I am anxious or have something on my mind then I can go walking, think it through…

Rebeca

“Walking is such an existential activity that makes me feel alive in the world away from my desk and computer. It feels purposeful, like I am going somewhere. If I am anxious or have something on my mind then I can go walking, think it through and feel like I am leaving it behind. I know that between when I start walking and when I finish some kind of change will have taken place within me, which is always reassuring.”

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The series Without Trails we are Lost began from a necessity to spend some time walking to gain some personal perspective. The more I walked the more I reflected on escapism through nature and I began making photographs in an attempt to connect with my surroundings. I started the project on local day walks, but I became more ambitious with distances and began to walk long distance trails with my tent. Walking with a tent allows me to walk at my own pace, knowing that I can stop longer in an area if I feel there is potential to make photographs. I am also less dependent on a car and can undertake longer distances allowing me to immerse myself further in the walk. As part of the project I am also interested in finding out why others walk and have been making portraits of people, ranging from weekend ramblers to those that have a professional relationship with walking. The featured photographs were made during my first walk along the North Downs Way, a 132 mile trail from Farnham, located to the southwest of London, to Dover on the southeast coast.

Guest Feature - Benjamin Hay

The Isle of Sheppey sits off the North Kent Coast, connected to the mainland by a single dual carriageway. Like many traditional seaside destinations the introduction of cheap European flights has had a dramatic effect on the once popular holiday destination, with Sheppey now having one of the highest poverty levels in the United Kingdom.

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The island itself suffers from drastic coastal erosion, particularly on the North coast with up to 1.2 metres lost in landslides and cliff falls every year. The government has deemed any intervention to be both too costly and not in the public interest, much to the dismay of residence who’s properties have either already either been lost to the sea or sit precariously close to the cliff edge and are projected to be lost in the near future. 

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Benjamin Hay is a Kent based photographer and lens based practitioner who’s work primarily examines the relationship between people, place and the built environment. 

benjaminhay.co.uk

Guest Feature - Mark Massey

Essex Chronicles is my exploration of the northern coastline of the Thames estuary, focusing on our interaction with the everyday places that occupy the land alongside it. It's an area I know well and I wanted to document the very varied mix of industry, leisure and human habitation which seem to sit side-by-side all along the coast (along with lots of nature and wildlife). Together they contribute to the identity of the entire area.

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The mouth of the Thames, in the south eastern corner of the UK, is one of the country’s largest inlets and a major shipping route in and out of London. It's also the home of ‘Estuary English’ accents and lazy stereotypes, but it has always been a source of inspiration to artists and writers.

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Mark Massey is mostly self-taught, focusing on documentary and portraiture photography. He studied graphic design at college, worked in London as a magazine designer for 20 years, and is now a freelance graphic designer / photographer based from his home county of Essex. His community is important to him, so local issues have formed the focus of several of his personal projects. 

markmassey.co.uk

Guest Feature - Mateusz Kowalik

Once tuberculosis was referred to as a dry-air disease or simply the romantic disease that afflicted the greatest artistic souls. Today, nothing dries the skin like air conditioning in an office in a high-rise building scraping the sky, or the confined spaces of a shopping mall, populated with colourful dreams, or a brand new car on a never-ending road to work. So, are we talking about searching for a remedy and a therapy, or maybe trying to break free from the death of the soul, which decays progressively, like the lungs of a consumptive? Is the unique climate of Góry Suche (pol. Dry Mountains) a destination itself or is it only a stop on the way to somewhere else, a more distant port of call?

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There’s the clean, fresh air of the local micro-climate. The sound of crickets keep the starry sky company. Herbs from the backyard garden drying over the fireplace. And those endless repairs of the local road that keep getting destroyed by sudden downpours. Lifelong friendships with kindred spirits and even stronger dramas. A lack of peers in the neighbourhood for a growing-up son, and an even more acute lack of work that reflects in real changes in the bank account. Even if you take a gulp of air, you still might end up panting for breath. 

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Mateusz Kowalik is a documentary photographer from Poland. He focuses on long-term projects and his work is often rooted in his own experience, exploring issues of contemporary society. He has shown his work at four individual exhibitions in Poland and Slovakia, and graduated from the Sputnik Photos Mentoring Program. In 2018 he began studying at the University of Opava at the Institute of Creative Photography. All images are from his project Still Far Away From Paradise. Project text: Beata Bartecka.

mateuszkowalik.com

Guest Feature - Robert Herrmann

Once a French colonial town and known as the pearl of Southeast Asia, now the biggest city in Vietnam and the country's financial centre, Saigon aka Ho Chi Minh City has been transforming into a megalopolis - and with its population already beyond 10 million it is growing fast. Until now the old cityscape has already been altered by a number of skyscrapers. But what is to be expected, when a metropolis is changing fast and profoundly like this? Ten years ago I visited Saigon for the first time. Small stores and street kitchens edged the streets emitting smoke and steam and exotic food smells. Yet, even back then high rise buildings were starting to be erected along the main roads. Since then I have been visiting Saigon documenting its transformation.

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The people's traditional way of life, worshiping the bonds of the family, is making way for individual aspirations after wealth and consumption. Everywhere street kitchens are being torn down in order to erect modern high rises where banks and companies are doing their business amidst a growing middle class. Saigon is densifiying. At the same time many inhabitants are forced to move to the city's fringes where real estate prices are lower. New quarters are rapidly and organically growing there, often loosely regulated by the city authorities. Increasing traffic is requiring fast solutions, often at the cost of tearing down old structures. But are the generic high rises that follow nothing but the pulse of commercial investment really the best building practice for a unique city like this?

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Robert Herrmann is an architectural photographer based out of Berlin, Germany. Trained as an architect Robert evolved into working as a photographer and visual artist. Balancing architectural comprehension with aesthetic interpretation he creates architectural and documentary images for numerous clients across the building industry.

robertherrmann.com

Aaron Yeandle Joins MAP6!

We are absolutley delighted to announce that photographer Aaron Yeandle has joined the MAP6 collective!. Below is a brief interview where he discuses his photograhic practice, his influences and his latest projects.

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Can you share with us your journey in photography – from your early inspirations and education to your current practice?

I first started photography when I studied an evening City and Guilds course. From that moment I wanted and needed to be a photographer. The following year, I left my full-time employment and began my journey into the world of photography. In this early stage of education my first inspirations were Richard Billingham, Martin Parr, Paul Reas, Nick Waplington and Rineke Dijkstra. These photographers revealed to me how the everyday world around us is so fascinating and how our society can be documented through photography. I was hooked on learning and began a BA (Hons) in photography. Throughout this period my work developed, and I became interested in other aspects of art and photography. In my second year I transferred to a BA in fine art. This was a period where I really learnt how to contextualise projects and ideas. Deep down, however, I wanted a photography degree rather than a fine art degree, and transferred back to photography for my final year.

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During this time I was inspired by paintings, painters and different art movements such as the Romanticism, Realism and the New American colour movement. These influences helped to open my mind, understand lighting, and discern how photography plays an important part in sociology, politics, anthropology and history. Soon after, I began an MA in fine art where I learned how to write about my practice, and the different possibilities of exhibiting work such as installations and displaying and mounting artwork to suit the environment. I also lectured at the local college and university and spent another year studying for a PGCE, which allowed me to lecture in further and higher education. For the next few years I spent my time travelling, and ended up working as the senior technician in photography and media at a university.

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With my practice I have become interested in how realism, romanticism and the imagination can be juxtaposed to create a narrative which tells a compelling visual story. For the past few years I have been exhibiting and working on numerous projects focusing on the unseen world of Guernsey’s communities, delving into social and historical aspects of the island. I have exhibited nationally and internationally, and my work has been seen in several international photographic festivals. I have also completed a number of international artist-in-residencies. Alongside my practice I provide educational workshops and present talks on my work. 

What motivates and drives your photographic practice?

When I first discovered photography I had a deep need to somehow express myself creatively. Photography gave me something tangible to hold onto and provided me with some kind of inner peace. There is so much to capture, so many fascinating people and places to meet and photograph, and this is what drives and motivates me through my practice. Photography somehow allows me to put the world in order, which makes me feel calm amidst the chaos. It also allows me to provide a historical and social view of the world for the future. 

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Tell us a little about your major project Voice-Vouaïe and your recent exhibition in Guernsey.

For the last three years I have been working on a large-scale social and historical project on the island of Guernsey. The title of the project is Voice-Vouaïe. The aim of the project is to bring awareness and create a visual and audio archival record of Guernésiais, an ancient language of Guernsey with a long and distinctive history which derived from the Normans. Today, the number of original native speakers in Guernsey is in fast decline, and it is estimated that in 2021 there are possibly fewer than 150 fluent speakers, mainly aged over 80. In World War 2, Guernsey was occupied by the Germans for five years. Most of the children on Guernsey were evacuated to England, which is one of the main reasons why the language began to die out. The majority of people who took part in this historical project were not evacuated in WW2, and spent their childhood under the Nazi occupation. I felt the need to capture this critical and changing situation as an important part of Guernsey’s social heritage and for the future legacy of the Island. I feel that in documenting this social issue for the international community I have captured a part of social history, which can be so fleeting.

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At the end of 2020 I showed Voice-Vouaïe in the Guernsey museum, with almost 200 images in this large-scale exhibition. To complement the photographs there was an opportunity to interact and listen to sound recordings of every person who took part in this historical project. In the gallery there was also a short film which featured the key people who made the project possible. There was also a complementary book published to go alongside the exhibition, which also acted as a guide and a gift for family members. We ran visits for different private and public organisations, as well as educational tours to primary, secondary and sixth form schools and educational talks at various events. Internationally the exhibition has created interest in Guernsey and the plight of the Guernésiais language. The next phase of the Voice-Vouaïe exhibition is now to take it on tour, to other countries that have their own endangered languages. 

If you could work collaboratively with one photographer – living or dead – who would it be and why?

This is a hard question, but in the end I choose August Sander, who was a German photographer. He lived in a remarkable social and political time, where from the 1920s onwards Germany went through a great upheaval, changing from being a free and forward-thinking society to the radical constrictions of the mid-1930s. I feel that Sander was one of the first photographers who created what we now know as the ‘artist project’. He was also part of a collective called the Cologne progressives. Sander had a clear idea that he wanted to create a visual diary of everyday people and place. He would go outside the studio and take people to their everyday places or photograph them in their homes and in their own private surroundings. At this time this was unusual, as most portraits would’ve been taken in the studio. He was able to capture his subjects in an objective and non-judgmental way, and record time for the future of social history. Sanders’ work helped to confirm photography as a true art medium, and in some ways he was the first contemporary photographer of the 20th century. 

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What do you anticipate as being the advantages of working as part of a photography collective?

There are so many benefits of working in a collective. There is an opportunity to share experiences, knowledge, expertise and learn new skills from one other. There are also significant advantages working on a collaborative project, such as exhibiting together, providing and receiving feedback from peers, and facilitating each other’s growth as photographers. Furthermore, one of the great advantages is creating new contacts, which can develop into a community of artists and friends who are all striving for an outstanding photographic result.

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What excites you about the future of photography?

Photography has been used for so many different reasons and has gone through many changes, compared with other art mediums. In recent years I have found that there seems to be a kind of renaissance back to analogue photography by the younger generation. Recently, I gave a two-day workshop on pinhole photography where the students were mainly young teenagers. We made cameras out of shoeboxes and made paper negatives, before developing the negs into positives using traditional darkroom chemicals. The younger students were fascinated with this process, and at the end of the course they went away with pinhole prints and were talking about how they would love to have their own darkroom. I find this exciting for the future of photography, even though my own practice has moved on from film. I can see there is a thirst by the younger generation to move away from digital photography and experiment. This may not be the future of photography; however, as long as there are photographic courses in schools, there will be a strong future for all types of photography. 

arronyeandle.com