MAKING HISTORIES VISIBLE
Rory Turner
William Titley
Often employing elements of community consultation to engage directly with place and people, the projects explore ideas of location, identity and spatial ownership.
To see more projects and exhibitions go to :
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Susan Walsh
'To lose a home is to lose a private museum of memory, identity and creative appropriation. To lose a childhood home, our first secure corner of the world is to lose a fundamental part of ourselves and our history.' Home Possessions - Daniel Miller
http://www.sheltaintransit.info/demolitioneviction
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Lubaina Himid
The Pavilions project is designed to find solutions to the challenge of how to commemorate the contribution made by the people of the African diaspora to the history, culture and rich fabric of the city of Liverpool.
http://www.thinblacklines.info
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Elaine Speight
I am an artist and curator based in the Northwest of England. My practice explores the politics of place through a range of creative activities.
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Simonetta Moro
Simonetta Moro explores a wide range of media, from painting to drawing to printmaking to 3D installations. Teaching is an important part of her creativeactivity. Simonetta Moro is currentlyAssistant Professor inFine Arts, Faculty ofArts in Context at Eugene Lang College, New York City.
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RORY TURNER Another Seaside
An on-goingproject investigating and documenting the decline in our seaside resorts
Some of our notion of identity comes from where we live and our cultural roots. As Islanders we are fascinated and intrigued by our boundaries. This interest with our coastline really came into focus during the birth of mass tourism in the late 19th early 20th centuries as we began to develop the coastline for leisure.
Many of the magnificent examples of seaside architecture developed for tourism during this time have disappeared, or are in such a state of disrepair that they are in danger of collapse.
My work focuses on the relics of seaside architecture, which relate to tourism and the notion of the tourist gaze. Photography and tourism have always been intrinsically linked through elements such as the postcard, family album and tourist ephemera, in particular the wide range of souvenir memorabilia available to the holiday maker at the British seaside. The seaside resort and elements of our coastline have thus become symbols of Britishness, firmly linked to our cultural heritage.
As both our coastline and the desire to visit it decline, new uses have to be found for the architecture which once serviced our leisure interests. This decline and change generates new interest, and once again the buildings have become objects of visual curiosity. It is the photographic documentation of this metamorphosis that is the basis of my work. My imagery prompts the viewer to examine the buildings and coastline more closely and to question their validity as objects of the tourist gaze.
I am intrigued by early photographic practitioners, especially those using the legendary Leica 35mm fixed lens cameras. Exponents of the Leica such as Henri Cartier-Bresson and Bert Hardy used this format to capture life as it happened. I want to get back to the limitations and challenges of a standard lens and compose in the viewfinder, recording our ever changing coastline. In the past this has only really been possible using the Leica film cameras but with the introduction of the Leica X1 it is possible to re create the excitement and quality of the original Leica in a digital format.
Rory Turner Associate Director- International Fashion Institute
Selected images - click on cross to enlarge
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Copyright Rory Turner 2010
