Jocelyn Allen, Emma Uwejoma and Sara Rejaie.
Some kind of identity brings together three diverse artists working within the medium of photography. Always pursuing a sense of identity, the work challenges the different approaches to a sensitive yet everyday subject. Through the act of self-portraiture new ways of challenging the approach to oneself physically, mentally and culturally reveal intimate documents.
‘Emma Uwejoma, Ngwako’. Photograph © Emma Uwejoma.
‘Emma Uwejoma searches for her own identity in the project Ngwako. Through the process of researching a sense of belonging in her Father’s heritage the project discovers the emergence of the Igbo tribe. Although she was raised in the western world with western values, her work aims to confront the traditional role of women in her Father’s background and where she might lie in this way of life. She questions her own identity as she grows up in a different culture.’
‘Your mind & body is all that you’ve got’. Photograph © Jocelyn Allen.
‘Jocelyn Allen works predominantly on the changing of her physical state. In the body of work ‘Your Mind & Body is all you’ve got’ a series of intimate portrayals of her body state the intention to bear all, not only physically but also emotionally. From every frown line and marks of aging sculpts a series that defines the passing of time and how our bodies evolve with the general wear and tear through daily life.’
‘Assorted photographs’. Photograph © Sara Rejaie.
‘Sara Rejaie photographs more emotional depictions of identity. Her more immediate approach forms a blog aesthetic as her ideas form naturally. It becomes organic as each moment links up to the heart of the person in creative control. The maker in this instance is the work and her personality creates the gravitational pull.’
Some Kind of Identity opens at Open Floor, 102 Bute Street, Cardiff on 27th August and is curated by Alexander Norton. The exhibition runs till 3rd September. Their Facebook event page is here.
James O Jenkins
Full fathom five thy father lies,
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
(William Shakespeare, The Tempest, I. 2. 397-403).
‘My father spent most of his life in, on or near the sea. He was born in Whitstable, Kent, in 1925 and grew up to the sound of gulls and shrimp-sellers. Later, when he joined the RAF, he was stationed in the Far East and brought back small packets of beautiful black-and-white photographs taken with his Leica camera. These show a mixture of exotic gardens, architecture, and beach scenes featuring implausibly large, feathery palm trees and brilliant sunshine.
Later Dad acquired a small dinghy and we would sail this determinedly up and down the River Avon on summer weekends, tacking every minute or so – less on a windy day, as the river was so narrow. He would also take sailing holidays on the North Sea, living on board for several days with new-found friends; these experiences inspired the poetry and short stories he wrote many years later.
Towards the end of his life Dad would take me and his two grandchildren to the Canary Islands every summer, where the white sands and dazzling turquoise sea were always a source of joy to him. He lost his life in the sea in August 2011, off La Oliva Beach outside Corralejo, Fuerteventura. As was his habit, he was floating on his back, looking up into the intense blue of the sky, and his heart simply stopped.
The images made for Full Fathom Five represent my first hesitant steps towards making something positive from the memories of that terrible day.
Like the American photographer Barbara Ess, I am “trying to photograph what cannot be photographed”, and, like her, I use the simplest of pinhole cameras to capture my way of experiencing the world.’
‘Full Fathom Five’ was made using coffee can and biscuit tin cameras using brass pinholes.
Celia Jackson is a senior lecturer in photography at the University of South Wales and work from ‘Full Fathom Five’ is currently on show at Fuse Art Space in Bradford as part of the exhibition Bradford Beach.
James O Jenkins
This important and timely exhibition showcases groundbreaking new work from some of Wales and Scotland’s contemporary photographers.
Document Scotland, formed in 2012 by Colin McPherson, Jeremy Sutton-Hibbert, Sophie Gerrard and Stephen McLaren, are responding to the global audience looking at Scotland at this, one of the most important times in the country’s history.
Formed in the wake of Document Scotland in 2013, the Welsh collective A Fine Beginning is made up of photographers James O Jenkins, Jack Latham, Abbie Trayler- Smith and Gawain Barnard and showcases contemporary photography being made in Wales.
“I am delighted that Street Level Photoworks will be staging this exhibition of new photography by Document Scotland. These are exciting times for the collective and for photography in Scotland and their collaboration with A Fine Beginning is a positive message that Scottish photography is relevant, informative and outward facing.” – Malcolm Dickson, Street Level Photoworks.
- Tuesday 26th August – ‘Common Ground’ launches at Street Level.
- Thursday 28th August – preview evening 6-8pm.
- Friday 29th August – portfolio reviews and workshops with Document Scotland, A Fine Beginning and invited guests from the photography industry.
- Saturday 30th August – talks and publication launch.
For further information or images please contact:
Document Scotland: ColinMcPherson
07831 838 717
A Fine Beginning: James O Jenkins
07876 341 910
Listings information: Common Ground: New Documentary Photography from Scotland & Wales
Street Level Photoworks, Glasgow
26th August – 19th October 2014
Download the PDF of this press release here.