Adil Manzoor

Thake' peynd | There’s a Kashmiri idiom I recall my grandparents saying: When you take a tree that is rooted in the ground and transfer it from one place to another, the tree will no longer bear fruit. And if it does, the fruit will not be as good as it was in its original place. Over time, I have found that this knowledge about trees does not extend as a metaphor for human belonging. As modernity grows its piercing roots into our current times, some people weren’t left a choice to be still as a tree.

Some have a home and outlive its comfort; they leave, feel nostalgic, restless, and homesick, but don’t have any other option than move out, to escape ennui, death. Some have to search for and create homes in other cities, from one apartment to another, in one person or another, not only to find themselves at home once again, but to make new meanings of the word home. As a photographer, this nomadic existence has taught me how to find solace in strangers.

I would never have thought of leaving the city as the summers were cool and winters snowy and we're enclosed by the mountains and have some of the largest fresh lakes. I used to spend the days of my childhood learning to swim, catching butterflies, and playing cricket.

As the clouds pressed lower and the mountains became red, the last bit of innocence was slowly squeezed out of my childhood. A rush of blood and suffering came up to the surface, and suddenly I was thrown into the throes for Aazadi — curfews, strikes, teargas, police, army and taranas. Winters used to be windy, harsh, solitary, and quiet. I knew the war wouldn’t finish in a month or two. It has come true: it looks like the war will never end.

When I'm bored, I start taking photographs; of my folks, or if I'm in a different city I try to find a home in other people. I try to find in them both the cool summers and snowy winters I know to be home. Whenever I travel back to my home, I end up discussing everything under the sun with my friends who are around. Lately, we’ve been talking about how we become people of multiple cities, and how we might be able to figure it out, to live with this more-than-oneness?

For a few weeks now, I've been back home with my family, and often, I'm bored. I go back to my familiar sport, taking pictures. Sometimes, these photos capture my cousins and my aunts, the spaces I occupy and move through, seizing a few moments of their lives.

The place I call home is very bright and beautiful but also bleak — like a deserted heart. One of my friends recently texted me, you're from a city of stars, but little does she know it's always moonless, this city.

Note: Thake' pyend' is a Kashmiri word that denotes a resting spot or home. A home is more than a space where your soul gets peace. A home necessarily doesn't happen to have a structure, it can be a person, house or anything which doesn't even have a material shape or form.

Catherine LeComte

I am using digital photography and collage to explore the connections between images, memory, and visual recordings. Images can bind memories, and through archival photographs of my familial relationships, I revisit the past and reprocess those events. I explore how I might remember an event differently from another who was also there, and I am interested in how recorded memories can be transmuted and altered to form a new narrative.

I use the VCR tapes my father recorded of my family and I from the 1990’s as another visual method to revisit my childhood. I play the tapes in rewind, and photograph the scenes as they appear. If I revisit the past, what will I uncover? I recently started using my fathers 8mm film camera, the same camera that recorded me, to record my present day moments. How are my present day memories connected to the ones I have of the past?

EMDR is a therapeutic technique in which one memory is selected and reprocessed per session. With each session, I unweave technologies that recorded me in the same way that EMDR unweaves my mind from the past. I am interested in what memories have shaped who I am, and how reliving those events through past technologies can help me reprocess them. www.catherinelecomte.com

Ava Pavlenč

All thing You | Life is a constant process of change. We evolve with time, grow through experiences and beco-me a different version of ourselves at different stages of our lives. However, our identity goes beyond our physical presence. It is not solely something that defines us while we are alive, but it is something we leave behind for people to remember us by.

Twelve years ago, I lost my father. Trying to cope with grief I returned to places he liked to visit, listened to music he enjoyed and sur-rounded myself with things he owned. I realised that whilst my father is physically absent, his identity and who he was is still omnipotent. As a young man, he opened his own gallery where established painters exhibited and sold their work. The gallery was a great success, with the local newspapers often featuring an article about it. He expanded his business and ope-ned a workshop where people could get their paintings framed.

My father spent hours per-fecting his work and once he was happy with the end result, he would stamp his logo on the back of each painting, wanting people to know his work. Our family kept most of the paintings and they are now displayed in our family home. We kept a lot of other things that belonged to my father. The one I always have on me is his gold bracelet, gifted to me by my mother on my eighteenth birthday. It was her way of giving my father’s gift to me, since he could not be there to celebrate the big milestone.

Sometimes it‘s hard to go through big milestones in life without him by my side, to celebrate big moments yet always having an empty chair, a spot where he should be, but isn‘t. Over the years some of the things had to be thrown away, but we kept one despite everyo-ne wanting to get rid of it decades ago: a red armchair that has been moving around with my family for over 25 years. My father insisted on keeping it because ‘it‘s still good enough’ even though we didn‘t need it anymore.

Twelve years after my father’s passing, we still have that same armchair. Maybe it‘s because we‘re still not ready to let go of certain things that remind us of our lives before he was gone.

To reconnect to the past and somehow feel closer to my father I often go through family pictures to remind myself of a moment in time I had forgotten or was too young to remember. There are many photos of me cuddling up to my father and although I don‘t remember the exact moment the picture was taken I still re-member the comfort and safety of his embra-ce. I have one of those pictures tattooed on my arm, to commemorate my father and to never forget the precious moments we shared. Loo-king through these archives I often rediscover who he was. Not only as a father but also as a friend, as a business man and as a husband.

Just like my father, we will leave behind a small mark in this big world and so long as our sto-ries are told, the memory of us will stay alive. Even after we are gone our identity remains constant. www.avapavlenc.com

Jacob Black

Forget Me Not | Lockdown and the global pandemic forced many home to isolate in aid of our personal and collective health. This period enabled reflection our environments became our companions our world. Moving from the bustling streets of Peckham London to the rural sanctity of South Devon the place of my adolescents. I became immersed in the environment that cradled and defined much of my existence. Enticed by its beauty and mysteries I began noticing the water reflection on the fallen trees the flight and the songs of the birds. These scenes were magnificent but amid the beauty natural peculiarities began to plague my conscious. Dark figures flashes of light permeating the blackness I became unable to decipher fiction from reality. I started to question my psyche why was I unable to rationally experience the natural wild world as I had remembered it.

'Forget Me Not' explores the death and destruction of the wild world within the physical and metaphysical. How we struggle to process seemingly ordinary natural events as our lives and spirits become urbanised. The work is a theatrical and mystical journey into the forgotten exploring mythology and hallucinations within the confines of a still image while conceiving unique from physical landscapes. 'Forget Me Not' thus attempts to create an experimental visual language into the understanding education and experiences of the British wilderness. jacobblack.format.com

Noah Fodor

Violent Histories | McKees Rocks, PA, a few minutes outside the city of Pittsburgh, has a harrowing past led by the politician James J. Westwood. His menacing time in the area begins in the late 1890s’ when he discovered a skull on top of the ancient burial mound in the area and decided to kick it into the Ohio river. Later, he began his career in crime. Starting with the “mysterious” death of his daughter by gunshot as he found her lying in the fetal position. Then came his role in the bombing of another man in the area running against him, defrauding the community, and various election crimes. This all led to his final act of violence, the murder of his wife Martha, as he stole up his back staircase and shot her three times through the window. This is a story of corruption, greed, power, suppression, and violence fueled by the desire for control.

Through images, archival photographs, text from the story of The Promised Land in the bible and newspaper articles recounting Westwood’s narrative, Violent Histories depicts a modern landscape of McKees Rocks, PA and retells the life of Westwood and his crimes. A new American history can also be untwisted. Filled with a truth that America would rather not admit as layers are peeled back and contradict the celebratory and “imagined” versions of America that are central to the façade America hides behind.

Like Westwood’s time in McKees Rocks, the same corruption, greed, and hunger for power by any means necessary can be seen in American history. Only this is disguised through romantic notions of overcoming adversity and hardships, and the idolization of colonizers. From Columbus to the Pilgrims and Puritans, their stories are wrapped up in the same themes as Westwood’s life. Charged by greed and under the name of God, justification is created for genocidal violence and othering. Inaccurate narratives paint these colonizers as heroes and worthy of worship, when their only form of power is through means of terror and exploitation, not “hard work” or determination. www.noahfodor.com

Leslie Shang Zhefeng

Cypress Slope | “Cypress Slope” is a project named after my hometown.It was photographed in 2020 and presents my family’s origins by collecting information in Baoji, Shaanxi, a rural village in western China. What the last four generations of my family experienced tells the identity of ordinary Chinese families in the modern century.

Through the research of their own family history and the arrangement of family materials, using old photos, letters, video screenshots, interviews and surveys as clues, the life experience of four generations is linked together, and the life history of ordinary Chinese families in the modern and modern centuries is narrated. It has been confirmed that the ancestors came from the Big Locust tree in Hongdong, Shanxi Province, 600 years ago, during the first year of Hongwu of the Ming Dynasty from 1368 to 1418. After several migrations, he settled on cypress Slope. The author's great-grandfather mortgaged his house because he smoked cigarettes. After his grandfather was born, his mother had no milk to feed, so he found a wet nurse in the village of Cypress Slope. My grandfather stayed on in Cypress Slope as an adult and raised a family. www.instagram.com/leslieshang_

Bill Gore

Song of the Saugatuck | This project began with winter walks along the Saugatuck River and a fascination with the cascading falls, the dark pools, and the gleaming ice formations. My image making is grounded in photographs of the river and all that I see in the present tense. But I am drawn to digital imagery as an avenue into my mental pictures of the energy of the rushing waters and the life forces that unite and nourish all that lives along the riverbanks. In making these images my thoughts and feelings go back to the people that once lived here and at the same time fast forward to the future.

The Saugatuck River has nurtured indigenous cultures for thousands of years. The most recent inhabitants were the Paugussetts who were erased by the colonists leaving only their word “saugatuck” meaning flowing waters. The culture of the white man causes change and so now we must ask what comes next. Will these waters continue to flow and what happens when the winter months are too warm for ice to form?www.billgorephotography.com

R. J. Kern

In 2016, I made portraits of youth contestants at Minnesota county fairs. Each participant—some as young as four years old— spent a year raising an animal, which they entered into a 4-H livestock competition. None of the youth I photographed succeeded in winning an award, despite the obvious care they have given to their animal.
Four years later, in 2020, I returned to photograph the young subjects, asking them what they carried forward from their previous experience. Some of them have continued to pursue animal husbandry while others developed other interests. We imagine some of these kids will choose to continue running their family farms, an unpredictable and demanding way to make a living.


As I created the second group of photographs, I asked them what were their thoughts, their dreams, and their goals for the future? How do they fit in the future of agricultural America?


The Unchosen Ones depicts the bloom of youth and the mettle of the kids who grow up on farms, reminding us how resilient children can be when confronted with life’s inevitable disappointments. The formal quality of the lighting and setting endow these young people with a gravitas beyond their years, revealing self-direction dedication in some, and in others, perhaps, the pressures of traditions imposed upon them. The portraits capture a particular America, a rural world, and a time in life when the layered emotions of youth are laid bare. www.rjkern.com

Michiko Chiyoda

I am ready to dream a dream with her | My dear Midori-San, How have you been there since we last communicated? I am still here and would like to ask you to wait for me for a while.

I want to reiterate how precious the moments I had with you are to me, as I look back over the five years we spent together while creating our works. I remember you said ‘thank you’ at times, but I am wondering how many times I said it to you, so I am writing you this letter.

I love your ‘SOMEBANA’ works, which are fabricated from your sensitive mind and fingers. It was five years ago, in the winter of 2015, when you asked me to join you in your work based on the theme of Prayer, I was absolutely thrilled. At the same time, however, I was shocked and lost for words upon your confession of having stage-3 cancer. “God knows my way to go from now on.” You simply added the phrase ---- as if you were trying to ease my silence. You always seemed to be imperturbably calm to me, and I assumed it was because you held certain prayers inside. I remember, I once asked what prayer meant to you. Your answer was “Prayer means dialogue with God, and my flowers embody it.” I am not sure I could understand it instantly, but I was mysteriously moved on the spot.

I visited Nagatsuka Monastery in Hiroshima, which you introduced me to, and at that time, my purpose was to try to find and understand the meaning of prayer for me. I spent days there, in a calm and silent environment surrounded by forest. I tried to speak to myself, and seek my innermost essence. I think I could have experienced moments of being filled with gratitude, and I sometimes felt unstable arrogant emotions. I think that there, I discovered that prayer for me just meant my wishes. I knew I could do nothing for her fate coming to an end. I have to admit, I was always frustrated that I had no power to change it and, as a result, I felt a tightness in my chest. One thing--just one thing--I could make up my mind there was that I would keep creating works with you, and keep dreaming a dream in which we share our joy in the accomplishment of our collaborations down the road. This finally made me feel like I was reaching prayer.

The monastery had many windows, and I stared at the holy, transparent streams of light they emitted, timelessly. Your delight with the title of our work that I sent you never leaves my memory, and shortly returned, saying, ‘Souls never die.’ I hope you are also looking forward to meeting me, and just in case, I would like to make extra sure to let you know that you have to be prepared for my many questions that go along with my many thanks from the bottom of my heart. Sincerely, Michiko www.michikochiyoda.com

Sandra Bacchi

Watermelons Are Not Strawberries | In Watermelons Are Not Strawberries, I portray my inner transformation and pursuit of self-awareness while navigating the challenges related to parenting. The black and white photographs blend conceptual and documentary photography that reveals the shapes and shadows of my love for motherhood as it merges with a lifetime of my personal anxiety.

Over six years, the work grew into a story of resilience, hope, and mutual support between my children and me. in this creative process, I found the strength to heal old wounds by examining universal feelings such as sadness, happiness, and love.

My two daughters were challenged with severe food allergies and learning differences in their early years. In helping them cope with their adversities, was forced to delve into my dark places to confront the deeply entrenched fear, shame, and guilt that stem from my then-undiagnosed dyslexia and celiac disease.

I didn't want my girls to feel the constant neurotic need to fit into the social norms, as I did my whole life. so, we established our own “normal” way to live our lives, creating a sense of complicity and empathy among each other, building a stronger relationship.

While I was advocating for my daughters, I learned how to advocate for myself. While I was trying to understand them, I deeply understood myself. sandrabacchi.com

Jaime Alvarez

Fishtown Daily | Fishtown Daily is a documentary project about the transformation of Fishtown, a neighborhood in Philadelphia. Fishtown is on the shore of the Delaware River, and butts up against three neighborhoods, Northern Liberties, Port Richmond, and Kensington. The whole area used to be filled with warehouses and factories until they started shutting down in the middle of the 20th century. Now developers have come in and demolished older building and warehouses in order to try to fit in as many new projects as possible, raising prices and taxes of people that have lived here for decades. www.jaimephoto.com

Vanessa Leroy

as our bodies lift up slowly (ongoing) | There isn’t a lot of space for dreaming in an oppressive world, so I use photography as a tool to create worlds where I freely navigate the various facets of my life experience and identity as a black queer woman. In this body of work titled "as our bodies lift up slowly," I weave the viewer between the past and present using archival family photographs, text, collages, and environmental portraits. I’m inspired by Octavia Butler’s novel Kindred, in which the young black protagonist Dana Franklin navigates a shifting timeline to uncover truths about her family lineage.

Additionally, I employ text from Toni Morrison’s novel Beloved, a story following a formerly enslaved woman named Sethe whose home is haunted by the spirit of her deceased child, creating a situation where she and her daughter are constantly swallowed by the overwhelming grief of losing years of life to brutal slavery and the loss of a life that never got to grow. I create photographs that speak to and comfort my younger self, and the versions of myself that struggled to carry the weight of having poor mental health and low self-esteem. In revisiting the past and imagining the future, I have created space for myself to heal in the present. vanessaleroy.com

Amanda Tinker

Small Animal | In this series of photographs, I arrange details of the natural world collected from my family garden, children’s books and vintage identification guides. Each photograph looks at the natural world as if it were held just for our observation, suspended far from any recognizable landscape. Nature’s small beauties, such as birds, butterflies, twigs and petals become objects of contemplation, organized into layered configurations.

The 8x10” view camera used to make these photographs factors greatly into the work. The rather large piece of glass at the back of the camera, where each image is composed before exposure, offers inspiration. It is a projection screen for my interest in the early history of photography, particularly as a tool for studying nature. One can imagine an era just before the dawn of photography where views of nature stirred on the glass of a camera obscura. Nature had been transformed through optical devices giving way to a diminutive view; the landscape on a smaller, more intimate scale. This project, situated in the 21st century, reflects a more ambivalent, if not estranged, experience of the natural world.

Andrew Trousdale

The Original Colony | Dunmore Town, Eleuthera, 2020, The settlers saw the island for a purpose. So they made Dunmore Town. For a while it was the Capital. But it sits on top of longer history. And now the old roots are pushing through from beneath. The island is taking itself back. www.andrewtrousdale.com

Ksenia Inverse

Behind the Bookshelves | Village libraries form a crucial part in the social structure of any village as well as their communal lifestyle. Reading is not the main cause for visiting; each library is a centre for education, cultural events and entertainment. The spaces are used for distributing news, celebrating anniversaries and social gatherings. Village libraries nourish patriotism in the youth besides preserving national traditions and historical knowledge.

Many of the libraries are managed by just one employee each, most of them being women. They are the ones in charge of decorating the spaces which is why each library possesses a unique interior.

Village libraries' book funds rarely receive contributions; some funds have but a few hundreds of books available. Mobile data and smartphones have driven the public interest towards digital resources which village libraries often don’t have access to. The librarians compensate for the decline of interest in printed editions and the infrequent donations to the funds with organising various events within the library spaces, such as celebrations of renowned writers and poets' anniversaries, lectures on local history, open gatherings for children and adults, numerous workshops and quizzes. ksenia-inverse.com

Ruotong Guan

Falling. Slowly. but, | My photography practice explores the relationships between my family and me, the living space we share, and the idea of home. When making projects, I look to my own family history through different identities: as a daughter, a granddaughter, and an independent individual. With photography, I present my self growth while visualizing the intangible emotions.

The project “Falling. Slowly. but,” is a series of photographs made in my grandparents’ house, which they have been living in for over thirty years but is now on the governmental demolition list. The conflict between the natural aging and the brutal demolition is presented subtly through photographs. I make portraits of my grandparents and their home, and when I recreate the house with images, from one window to another, from the balcony to the bedroom, my memory is the thread to tie pieces together. In this process, I see my own presence, and it is my protest against forgetting. ruotongguanphoto.com

Michael Young

Hidden Glances | Hidden Glances is a series of photographs made from vintage gay pornography calendars published when I was beginning to recognize my sexuality as a youth until I came out in 2000. Before then, I skirted mention of my sexuality by hiding behind my studies, feigning interest in girls, and making failed attempts to fit in with the rest of the boys.

Calendars chronicle and mark time. In this work, they represent the long period in my life when others assumed I was straight, or I was told that being gay was wrong. Ironically, the men in these calendars portray sexualized heterosexual archetypes that many in the gay community have appropriated. These "manly" men that society was trying to train me to become ultimately became the men I longed to look at and galvanized my true identity.

Each image is made by hand cutting a figure from his scene, layering him over another month’s image, and then re-photographing the new composition. By eliminating the presence of exposed skin in the top layer, one muscular silhouette becomes a window that both reveals and conceals to create tension between the two layers. Ultimately through the lack of depth, I am creating visual compressions of all those years when I wanted to look at other guys and could only risk taking quick glimpses because I was afraid that my gaze would linger too long and expose my homosexuality. www.mjyoungphoto.com

Troy Williams

I’ve been photographing off and on for about 20 years. My interest was to make images that evoked memories of moments lived and moments imagined. Theatrical and cinematic representations of life in my rearview mirror. Moments of adolescent mysticism and teenage heroics. As time went on, these vivid and fantastical representations that had stirred my imagination started to give way to the necessary need to move forward. To start existing in the present. For many years it was a confusing and disappointing task of trial and error. I made countless images that tried to hold onto the parts of me that I begrudgingly didn’t want to let go of. I was changing but I didn’t know what I was changing into. Then came the pandemic. And as we all know, became a time of deep reflection. The necessity to be alone in order to protect ourselves and our community became the catalyst for who I was becoming. And once the lockdown started to recede, I headed out to the streets to begin to live my new life.

Portraits can be deeply moving. The connection between the subject, the photographer and the audience, in my belief, creates a community. It has the ability to bring forth the interiority of our desires, our faith, our aspirations, our apprehensions, our truth. It is this profound power that portraits have that brought me to my current version of myself. I want to experience our self expression intimately. And in the moment, as we live and breathe. And just as important as my need to connect, I make these street portraits as a way to honor and pay attention to the everyday people that I lovingly cross paths with. We are strong, resilient, creative and healing beings that have the power to lift each other up. We inspire when we live out loud with enthusiasm and compassion. Our surface shows so much of our spirit. A photograph is a beautiful vehicle between one soul to another. It is a gift. www.troywilliams.love

Aurelia Wrenn

Long winter gives way to a fleeting spring, messy and vibrant and sweetly scented in all its explosions of life. Languid midsummer stretches on, then falls. Fruits, flowers, and foodstuffs wilt and rot and glow lurid under sunlight... Beauty is made precious by its brevity. aureliawrenn.com

Daniel Keys

Concurrence | Concurrence is an ongoing series of portraits of the people around me. I decided to take portraits of my friends and family as a way of pinning down each person at that time in our lives, offering a view of that person and their circumstances. Living in London I have always found the cities multiculturalism reflected in my many connections with people from not only different countries but also varied economic backgrounds.

I was originally prompted by the UK’s controversial decision to leave the European Union, a selfish fear that the group of contacts I had surrounded myself with may be forced to leave. Many of those people had a sense of disappointment with the country they had decided to call home, even prompting some to leave of their own volition.

Each image is the outcome of a private interview/conversation between the sitter and myself and is a personal rumination of the coincidental nature of friendships and acknowledgment that the circumstances that bind people together are in a constant state of flux.

When photographing the portraits, I have endeavored to remove the presence of the camera as much as possible. I attained this by lining up the shot and focusing beforehand, using a cable release, and only occasionally checking the camera. Being able to engage my sitter in real conversation and pressing the shutter instinctually as and when it felt right to do so.

I decided to use the sitter’s bedrooms to frame the images as it facilitates the visual narrative, giving context to the sitter’s circumstances, fleshing out the subject to the audience whilst also providing a space for me to conduct the interviews. A safe space where the subjects feel comfortable, an intimate space. The interviews are not structured in a conventional sense and can flow, taking the route they wish, allowing the sitter to control the dialogue somewhat. Topics have ranged from childhood, relationships, hopes, fears, aspirations, and regrets. www.daniel-keys.co.uk