East Meets West

Jacqui aims to convey thoughts and emotions by engaging with the landscape, telling stories as she goes. Most excursions begin with an OS map, starting from the edgelands and looking towards the wilderness, the lost places. Her exhibited work has a sculptural element, using reclaimed boards, tarpaulins and projections to display her photography.

Jacqui aims to convey thoughts and emotions by engaging with the landscape, telling stories as she goes. Most excursions begin with an OS map, starting from the edgelands and looking towards the wilderness, the lost places. Her exhibited work has a sculptural element, using reclaimed boards, tarpaulins and projections to display her photography.

Jacqui aims to convey thoughts and emotions by engaging with the landscape, telling stories as she goes. Most excursions begin with an OS map, starting from the edgelands and looking towards the wilderness, the lost places. Her exhibited work has a sculptural element, using reclaimed boards, tarpaulins and projections to display her photography.

Jacqui aims to convey thoughts and emotions by engaging with the landscape, telling stories as she goes. Most excursions begin with an OS map, starting from the edgelands and looking towards the wilderness, the lost places. Her exhibited work has a sculptural element, using reclaimed boards, tarpaulins and projections to display her photography.

Anna's mother helped her recover from cancer, now Anna supports her mother in living with Parkinson's. An identity between and outside of itself. Mother and Daughter, Daughter and Mother. Passing batons back and forth, Anna and. 

Marley Starskey Butler is Birmingham based, raised by Wolverhampton, nurtured by Derby and born in Leeds. He makes art, in particular, visual, audio and performance works to explore opposites, parallels, memory, love, loss, mortality, and the politics of belonging in self and in society.

Anna's mother helped her recover from cancer, now Anna supports her mother in living with Parkinson's. An identity between and outside of itself. Mother and Daughter, Daughter and Mother. Passing batons back and forth, Anna and. 

Marley Starskey Butler is Birmingham based, raised by Wolverhampton, nurtured by Derby and born in Leeds. He makes art, in particular, visual, audio and performance works to explore opposites, parallels, memory, love, loss, mortality, and the politics of belonging in self and in society.

Dark Corners is a response to Joseph’s experience travelling as a working photographer. With an aesthetic that contrasts the bright, people-centric images produced on commission, Dark Corners reflects on the isolation and mental well-being that Joseph faces when alone in these spaces.

Dark Corners is a response to Joseph’s experience travelling as a working photographer. With an aesthetic that contrasts the bright, people-centric images produced on commission, Dark Corners reflects on the isolation and mental well-being that Joseph faces when alone in these spaces.

Dark Corners is a response to Joseph’s experience travelling as a working photographer. With an aesthetic that contrasts the bright, people-centric images produced on commission, Dark Corners reflects on the isolation and mental well-being that Joseph faces when alone in these spaces.

“If I cry, my tears will be solid morphine”


In October 2018 my mother drove the long journey from rural Lancashire to London.  The next day she went to a funeral in Windsor before driving all the way back. She was 85, alert, active and fiercely independent.  

People would ask me how she was. 

I’d say “Infuriating”, 

They would laugh. 

Within the year she had developed a lung disorder.  She suffered torturous pain. Her skin tore like tissue paper.  She ate sweet biscuits to give her energy.

Only months later, still fighting, she gasped for breath. I held her as her fingers became soft and her arms as fluid as a ballerina.  In that moment, she was gentle.  In that moment, she became a memory. 

“If I cry, my tears will be solid morphine”


In October 2018 my mother drove the long journey from rural Lancashire to London.  The next day she went to a funeral in Windsor before driving all the way back. She was 85, alert, active and fiercely independent.  

People would ask me how she was. 

I’d say “Infuriating”, 

They would laugh. 

Within the year she had developed a lung disorder.  She suffered torturous pain. Her skin tore like tissue paper.  She ate sweet biscuits to give her energy.

Only months later, still fighting, she gasped for breath. I held her as her fingers became soft and her arms as fluid as a ballerina.  In that moment, she was gentle.  In that moment, she became a memory. 

“If I cry, my tears will be solid morphine”


In October 2018 my mother drove the long journey from rural Lancashire to London.  The next day she went to a funeral in Windsor before driving all the way back. She was 85, alert, active and fiercely independent.  

People would ask me how she was. 

I’d say “Infuriating”, 

They would laugh. 

Within the year she had developed a lung disorder.  She suffered torturous pain. Her skin tore like tissue paper.  She ate sweet biscuits to give her energy.

Only months later, still fighting, she gasped for breath. I held her as her fingers became soft and her arms as fluid as a ballerina.  In that moment, she was gentle.  In that moment, she became a memory. 

Sammie's work considers environmental philosophies and the relationships we have with organic space. Her work explores our own individual agency and why we need to stop othering ourselves to begin re-engaging with natural surroundings. By including organic matter in the image making process she experiments with the materiality of the land and the impact that  photographic arts have in the world. In doing so, she attempts to deepen her understanding of the significance of vegetal being upon human ways of thinking. 

Sammie's work considers environmental philosophies and the relationships we have with organic space. Her work explores our own individual agency and why we need to stop othering ourselves to begin re-engaging with natural surroundings. By including organic matter in the image making process she experiments with the materiality of the land and the impact that  photographic arts have in the world. In doing so, she attempts to deepen her understanding of the significance of vegetal being upon human ways of thinking. 

Sammie's work considers environmental philosophies and the relationships we have with organic space. Her work explores our own individual agency and why we need to stop othering ourselves to begin re-engaging with natural surroundings. By including organic matter in the image making process she experiments with the materiality of the land and the impact that  photographic arts have in the world. In doing so, she attempts to deepen her understanding of the significance of vegetal being upon human ways of thinking. 

Sammie's work considers environmental philosophies and the relationships we have with organic space. Her work explores our own individual agency and why we need to stop othering ourselves to begin re-engaging with natural surroundings. By including organic matter in the image making process she experiments with the materiality of the land and the impact that  photographic arts have in the world. In doing so, she attempts to deepen her understanding of the significance of vegetal being upon human ways of thinking. 

Sammie's work considers environmental philosophies and the relationships we have with organic space. Her work explores our own individual agency and why we need to stop othering ourselves to begin re-engaging with natural surroundings. By including organic matter in the image making process she experiments with the materiality of the land and the impact that  photographic arts have in the world. In doing so, she attempts to deepen her understanding of the significance of vegetal being upon human ways of thinking. 

Sammie's work considers environmental philosophies and the relationships we have with organic space. Her work explores our own individual agency and why we need to stop othering ourselves to begin re-engaging with natural surroundings. By including organic matter in the image making process she experiments with the materiality of the land and the impact that  photographic arts have in the world. In doing so, she attempts to deepen her understanding of the significance of vegetal being upon human ways of thinking. 

Fraser McGee is a commercial photographer based in the Midlands who works across the entirety of the U.K. He runs a branding, wedding, and architectural photography business alongside a personal practice focused on travel and lifestyle imagery.

The HI-TRANS series focuses on the issue of migration from the Outer Hebrides and maintaining population in the extreme edges of the British Isles. The work takes a common symbol of population, transport, and civilisation - the bus stop - and juxtaposes it against the rugged harsh landscapes to be found on the Western Isles of Harris and Lewis in this typological set of images. These islands, which have a landmass the size of Greater London, have a population of no more than 22,000 as of the last census in 2011. With many young people on the islands travelling down to the mainland for university and better career prospects, the numbers left on the islands will be revealed in the next census due in March 2021. Always empty apart from the odd sheep, the vacant bus stop speaks to the challenges of maintaining a populace in the outermost extremities of the UK. The series takes its name from the Highlands and Islands Transport Partnership with manages public transport in the far north of Scotland. 

Fraser McGee is a commercial photographer based in the Midlands who works across the entirety of the U.K. He runs a branding, wedding, and architectural photography business alongside a personal practice focused on travel and lifestyle imagery.

The HI-TRANS series focuses on the issue of migration from the Outer Hebrides and maintaining population in the extreme edges of the British Isles. The work takes a common symbol of population, transport, and civilisation - the bus stop - and juxtaposes it against the rugged harsh landscapes to be found on the Western Isles of Harris and Lewis in this typological set of images. These islands, which have a landmass the size of Greater London, have a population of no more than 22,000 as of the last census in 2011. With many young people on the islands travelling down to the mainland for university and better career prospects, the numbers left on the islands will be revealed in the next census due in March 2021. Always empty apart from the odd sheep, the vacant bus stop speaks to the challenges of maintaining a populace in the outermost extremities of the UK. The series takes its name from the Highlands and Islands Transport Partnership with manages public transport in the far north of Scotland. 

Fraser McGee is a commercial photographer based in the Midlands who works across the entirety of the U.K. He runs a branding, wedding, and architectural photography business alongside a personal practice focused on travel and lifestyle imagery.

The HI-TRANS series focuses on the issue of migration from the Outer Hebrides and maintaining population in the extreme edges of the British Isles. The work takes a common symbol of population, transport, and civilisation - the bus stop - and juxtaposes it against the rugged harsh landscapes to be found on the Western Isles of Harris and Lewis in this typological set of images. These islands, which have a landmass the size of Greater London, have a population of no more than 22,000 as of the last census in 2011. With many young people on the islands travelling down to the mainland for university and better career prospects, the numbers left on the islands will be revealed in the next census due in March 2021. Always empty apart from the odd sheep, the vacant bus stop speaks to the challenges of maintaining a populace in the outermost extremities of the UK. The series takes its name from the Highlands and Islands Transport Partnership with manages public transport in the far north of Scotland. 

Fraser McGee is a commercial photographer based in the Midlands who works across the entirety of the U.K. He runs a branding, wedding, and architectural photography business alongside a personal practice focused on travel and lifestyle imagery.

The HI-TRANS series focuses on the issue of migration from the Outer Hebrides and maintaining population in the extreme edges of the British Isles. The work takes a common symbol of population, transport, and civilisation - the bus stop - and juxtaposes it against the rugged harsh landscapes to be found on the Western Isles of Harris and Lewis in this typological set of images. These islands, which have a landmass the size of Greater London, have a population of no more than 22,000 as of the last census in 2011. With many young people on the islands travelling down to the mainland for university and better career prospects, the numbers left on the islands will be revealed in the next census due in March 2021. Always empty apart from the odd sheep, the vacant bus stop speaks to the challenges of maintaining a populace in the outermost extremities of the UK. The series takes its name from the Highlands and Islands Transport Partnership with manages public transport in the far north of Scotland. 

Emily Jones is a fine art photographer based in the Midlands. Emily’s photographic practice is based on the uses of personal photographs, exploring themes of memory, belonging, and familial relationships. By analysing the places and homes she grew up in, Emily uses domestic imagery to create a visual response to the history and relationships of her family.

Emily Jones is a fine art photographer based in the Midlands. Emily’s photographic practice is based on the uses of personal photographs, exploring themes of memory, belonging, and familial relationships. By analysing the places and homes she grew up in, Emily uses domestic imagery to create a visual response to the history and relationships of her family.

Emily Jones is a fine art photographer based in the Midlands. Emily’s photographic practice is based on the uses of personal photographs, exploring themes of memory, belonging, and familial relationships. By analysing the places and homes she grew up in, Emily uses domestic imagery to create a visual response to the history and relationships of her family.

Emily Jones is a fine art photographer based in the Midlands. Emily’s photographic practice is based on the uses of personal photographs, exploring themes of memory, belonging, and familial relationships. By analysing the places and homes she grew up in, Emily uses domestic imagery to create a visual response to the history and relationships of her family.

Emily Jones is a fine art photographer based in the Midlands. Emily’s photographic practice is based on the uses of personal photographs, exploring themes of memory, belonging, and familial relationships. By analysing the places and homes she grew up in, Emily uses domestic imagery to create a visual response to the history and relationships of her family.

Within the US the American Dream has now long passed and become corroded through endless interpretation and dilution. However, there is still an allure to Europeans who seek to transcend the monotony of life at home through embracing American narratives and clichés.  

Alongside our positioning in Europe post Brexit, the American 2020 election and its impact on the UK, we see further complexities to our so-called 'special relationship'. During uncertain times and amongst the pervasiveness of American visual and political culture the desire to be part of a collective shared experience offers sanctuary for some. 

The Flesh & the Fantasy explores British communities and individuals who adopt alternative lifestyles and asks what it means to appropriate additional cultural traits whilst maintaining a sense of identity, community and home.

Lucy Turner is a photographic artist, whose work is informed by the album and the archive. Currently, she is in the process of exploring British advertisements within the gas industry between the 1950’s and 1980’s. Her main focus is the Southern Gas advertising campaigns and the corporate photographs that accompany them.

Lucy Turner is a photographic artist, whose work is informed by the album and the archive. Currently, she is in the process of exploring British advertisements within the gas industry between the 1950’s and 1980’s. Her main focus is the Southern Gas advertising campaigns and the corporate photographs that accompany them.

Lucy Turner is a photographic artist, whose work is informed by the album and the archive. Currently, she is in the process of exploring British advertisements within the gas industry between the 1950’s and 1980’s. Her main focus is the Southern Gas advertising campaigns and the corporate photographs that accompany them.

“Women from the Pakistani Diaspora” is a series of self-portraits composed in Birmingham that explores the identity of Maryam’s mother as an 18 year old woman of Pakistani origin who emigrated to the United Kingdom. Maryam depicts these images by showcasing outfits that were worn by her mother over 35 years ago and by visiting the places that were significant to her mother’s life as a young migrant woman in Britain.

Maryam Wahid is an award winning artist. Using photography, Her work explores her identity as a British Pakistani Muslim. She expresses the origins of the Pakistani community in her hometown Birmingham (UK) by exploring her deeply rooted family history and the mass integration of migrants within the UK.

“Women from the Pakistani Diaspora” is a series of self-portraits composed in Birmingham that explores the identity of Maryam’s mother as an 18 year old woman of Pakistani origin who emigrated to the United Kingdom. Maryam depicts these images by showcasing outfits that were worn by her mother over 35 years ago and by visiting the places that were significant to her mother’s life as a young migrant woman in Britain.

Maryam Wahid is an award winning artist. Using photography, Her work explores her identity as a British Pakistani Muslim. She expresses the origins of the Pakistani community in her hometown Birmingham (UK) by exploring her deeply rooted family history and the mass integration of migrants within the UK.

Inside/ Outside (WIP)

The Chorlton Lockdown Portraits series was taken in my front yard during each of the three national lockdowns. As being outside suddenly became unusual, I asked passers-by to have their portrait taken and send me their experiences of the pandemic, documenting these strange and difficult times.

One Long Lazy Day (WIP) comes from personal photographs of my home and family over the same period. Observing the impacts of boredom and social isolation, the series records how our lives and behaviour slowly altered over the last year.

Inside/ Outside forms two linked projects; one public, interacting, outside. One quieter, personal, inside.

Mark Hobbs

Emily Jones is a fine art photographer based in the Midlands. Emily’s photographic practice is based on the uses of personal photographs, exploring themes of memory, belonging, and familial relationships. By analysing the places and homes she grew up in, Emily uses domestic imagery to create a visual response to the history and relationships of her family.

Emily Jones is a fine art photographer based in the Midlands. Emily’s photographic practice is based on the uses of personal photographs, exploring themes of memory, belonging, and familial relationships. By analysing the places and homes she grew up in, Emily uses domestic imagery to create a visual response to the history and relationships of her family.

“Women from the Pakistani Diaspora” is a series of self-portraits composed in Birmingham that explores the identity of Maryam’s mother as an 18 year old woman of Pakistani origin who emigrated to the United Kingdom. Maryam depicts these images by showcasing outfits that were worn by her mother over 35 years ago and by visiting the places that were significant to her mother’s life as a young migrant woman in Britain.

Maryam Wahid is an award winning artist. Using photography, Her work explores her identity as a British Pakistani Muslim. She expresses the origins of the Pakistani community in her hometown Birmingham (UK) by exploring her deeply rooted family history and the mass integration of migrants within the UK.

Laura is an award winning visual artist and creative producer based in England. She works nationally and internationally using analogue photography and photo montage to make collaborative work using a process built around meaningful connection, conversations and participation. Through her work Laura hopes to create opportunities for previously untold stories to be shared authentically, illuminating the shared human experience and celebrating the extraordinary ordinary.

“Women from the Pakistani Diaspora” is a series of self-portraits composed in Birmingham that explores the identity of Maryam’s mother as an 18 year old woman of Pakistani origin who emigrated to the United Kingdom. Maryam depicts these images by showcasing outfits that were worn by her mother over 35 years ago and by visiting the places that were significant to her mother’s life as a young migrant woman in Britain.

Maryam Wahid is an award winning artist. Using photography, Her work explores her identity as a British Pakistani Muslim. She expresses the origins of the Pakistani community in her hometown Birmingham (UK) by exploring her deeply rooted family history and the mass integration of migrants within the UK.

‘Mar de norte’ is a collection of images and a video piece commissioned by Real Creative Futures at the New Art Exchange in Nottingham. The project was started after the passing of her father in 2019. By revisiting her memories and the places of her childhood, Susana explores their difficult father-daughter relationship and her own grieving process. The work is a celebration of his life and a way to achieve closure for herself.

Susana de Dios is a Spanish-British photographer living and working in Nottingham (UK). Her practice examines loss, place and the passing of time. 
 
Her work is archived at the V&A Museum, The British Library, Cambridge University and Historic 
England. 

IG: @susdedios 
www.dediosphoto.com

‘Mar de norte’ is a collection of images and a video piece commissioned by Real Creative Futures at the New Art Exchange in Nottingham. The project was started after the passing of her father in 2019. By revisiting her memories and the places of her childhood, Susana explores their difficult father-daughter relationship and her own grieving process. The work is a celebration of his life and a way to achieve closure for herself.

Susana de Dios is a Spanish-British photographer living and working in Nottingham (UK). Her practice examines loss, place and the passing of time. 
 
Her work is archived at the V&A Museum, The British Library, Cambridge University and Historic 
England. 

IG: @susdedios 
www.dediosphoto.com

‘Mar de norte’ is a collection of images and a video piece commissioned by Real Creative Futures at the New Art Exchange in Nottingham. The project was started after the passing of her father in 2019. By revisiting her memories and the places of her childhood, Susana explores their difficult father-daughter relationship and her own grieving process. The work is a celebration of his life and a way to achieve closure for herself.

Susana de Dios is a Spanish-British photographer living and working in Nottingham (UK). Her practice examines loss, place and the passing of time. 
 
Her work is archived at the V&A Museum, The British Library, Cambridge University and Historic 
England. 

IG: @susdedios 
www.dediosphoto.com

Tamsin’s work explores the relationship between classification systems and the walked experience of the landscape. She hunts and maps familiar things that are often overlooked or under-explored. In ‘this is how the earth must see itself’ the Ordnance Survey mapping system and symbols are used as a guide to explore the British landscape.

Tamsin’s work explores the relationship between classification systems and the walked experience of the landscape. She hunts and maps familiar things that are often overlooked or under-explored. In ‘this is how the earth must see itself’ the Ordnance Survey mapping system and symbols are used as a guide to explore the British landscape.

Tamsin’s work explores the relationship between classification systems and the walked experience of the landscape. She hunts and maps familiar things that are often overlooked or under-explored. In ‘this is how the earth must see itself’ the Ordnance Survey mapping system and symbols are used as a guide to explore the British landscape.

“If I cry, my tears will be solid morphine”


In October 2018 my mother drove the long journey from rural Lancashire to London.  The next day she went to a funeral in Windsor before driving all the way back. She was 85, alert, active and fiercely independent.  

People would ask me how she was. 

I’d say “Infuriating”, 

They would laugh. 

Within the year she had developed a lung disorder.  She suffered torturous pain. Her skin tore like tissue paper.  She ate sweet biscuits to give her energy.

Only months later, still fighting, she gasped for breath. I held her as her fingers became soft and her arms as fluid as a ballerina.  In that moment, she was gentle.  In that moment, she became a memory. 

Within the US the American Dream has now long passed and become corroded through endless interpretation and dilution. However, there is still an allure to Europeans who seek to transcend the monotony of life at home through embracing American narratives and clichés.  

Alongside our positioning in Europe post Brexit, the American 2020 election and its impact on the UK, we see further complexities to our so-called 'special relationship'. During uncertain times and amongst the pervasiveness of American visual and political culture the desire to be part of a collective shared experience offers sanctuary for some. 

The Flesh & the Fantasy explores British communities and individuals who adopt alternative lifestyles and asks what it means to appropriate additional cultural traits whilst maintaining a sense of identity, community and home.

Tamsin’s work explores the relationship between classification systems and the walked experience of the landscape. She hunts and maps familiar things that are often overlooked or under-explored. In ‘this is how the earth must see itself’ (WIP) the Ordnance Survey mapping system and symbols are used as a guide to explore the British landscape.

Inside/ Outside (WIP)

The Chorlton Lockdown Portraits series was taken in my front yard during each of the three national lockdowns. As being outside suddenly became unusual, I asked passers-by to have their portrait taken and send me their experiences of the pandemic, documenting these strange and difficult times.

One Long Lazy Day (WIP) comes from personal photographs of my home and family over the same period. Observing the impacts of boredom and social isolation, the series records how our lives and behaviour slowly altered over the last year.

Inside/ Outside forms two linked projects; one public, interacting, outside. One quieter, personal, inside.

Mark Hobbs

Sammie's work considers environmental philosophies and the
relationships we have with involving organic space. Her work explores our own individual agency and why we need to stop othering ourselves to begin re-engaging with natural surroundings. By including organic matter in the image making process she experiments with the materiality of the land  and the impact that  photographic arts have in the world.In doing so, in doing so she attempts to deepen her understanding of the significance of vegetal being upon human ways of thinking. 

Inside/ Outside (WIP)

The Chorlton Lockdown Portraits series was taken in my front yard during each of the three national lockdowns. As being outside suddenly became unusual, I asked passers-by to have their portrait taken and send me their experiences of the pandemic, documenting these strange and difficult times.

One Long Lazy Day (WIP) comes from personal photographs of my home and family over the same period. Observing the impacts of boredom, social isolation and despondency, the series records how our lives and behaviours slowly altered over the last year.

Inside/ Outside forms two linked projects; one public, interacting, outside. One quieter, personal, inside.

Mark Hobbs