Zemni Images

Photography, moving image, design and illustration of Linda Mayoux

Frank Newbould

Category: Identities

  • Frank Newbould

     

    One of the most striking campaigns in relation to the developing mythology of the British rural landscape was a series of posters painted during 1942 by Frank Newbould (1887–1951).The resemblance between Newbould’s posters and travel advertising of the time is also worth noting. Substituting strap lines encouraging would be holidaymakers to explore their country with a command to defend it was a novel strategy.

  • Marcus Bleasdale

    Marcus Bleasdale (born 1968) is a photojournalist, born in the UK to an Irish family. He spent over eight years covering the brutal conflict within the borders of the Democratic Republic of Congo and has worked in many other places. Much of his work is linked to fundraising for aid and human rights agencies and there is often a link to ways t donate. His videos are extremely powerful and also discuss what people can do to change the situations the are seeing.

    His images are in both black and white and colour and he also does video. They get their power because he is well informed about what he is shooting and knows why he wants hat shot and also has access to people and situations most outsiders would not. But he also has an extraordinary sense of composition and tone. Some of his images at composited (no examples available for download) but I generally find these less powerful.

    http://www.marcusbleasdale.com/sources/ipad/index.php#home

    Rape of a Nation.    http://mediastorm.com/publication/rape-of-a-nation

  • Jo Spence

    Jo Spence (1934–92) had a highly politicised approach to photography, creating photographs that run counter to the idealised imagery offered by advertising. Spence often worked collaboratively and sought alternative distribution models, laminating work for durability and renting out her photography to conferences, libraries, universities and public spaces to broaden its audience. She also documented her own struggles with cancer. Website: http://www.jospence.org   ‘Putting Myself in the Picture’ (Camden Press 1986) brought together her raw and confessional works to inspire a younger generation of photographers. Remodelling Photo History (1982)  a series of self-portraits in collaboration with Terry Dennett. The work consists of a series of diptychs where two photographs of Spence are juxtaposed. In some pairs, the first is a parody of a more traditional pictorial image; the second shot is less conventionally framed and the irony is articulated with less subtlety.
    ‘Industrialisation’ places the female figure between the viewer and the view beyond, challenging the male gaze and the objectification of women.
    ‘Victimisation’ “Here we see that the estate will not admit trespass, and that it stands in for the heroic (male) defender of the ground, repelling weak opposition at its border. Jo Spence failed to cross the barrier, allowing the absent landowner (through his gate and sign) to become hero, male, the creator of difference… her mockery diminishes the victory won by the landowner.” (John Taylor 1994, p.282 quoted Alexander p133)   ————————————-

    Jo Spence (1934–92) had a highly politicised approach to photography, creating photographs that run counter to the idealised imagery offered by advertising. Spence often worked collaboratively and sought alternative distribution models, laminating work for durability and renting out her photography to conferences, libraries, universities and public spaces to broaden its audience. She also documented her own struggles with cancer.

    Website: http://www.jospence.org
     


    ‘Putting Myself in the Picture’ (Camden Press 1986) brought together her raw and confessional works to inspire a younger generation of photographers.
    Remodelling Photo History (1982)  a series of self-portraits in collaboration with Terry Dennett. The work consists of a series of diptychs where two photographs of Spence are juxtaposed. In some pairs, the first is a parody of a more traditional pictorial image; the second shot is less conventionally framed and the irony is articulated with less subtlety.
    ‘Industrialisation’ places the female figure between the viewer and the view beyond, challenging the male gaze and the objectification of women.


    ‘Victimisation’ “Here we see that the estate will not admit trespass, and that it stands in for the heroic (male) defender of the ground, repelling weak opposition at its border. Jo Spence failed to cross the barrier, allowing the absent landowner (through his gate and sign) to become hero, male, the creator of difference… her mockery diminishes the victory won by the landowner.” (John Taylor 1994, p.282 quoted Alexander p133)

  • Simon Roberts

  • Ingrid Pollard

    Website

    Through her practice, Guyanese-born artist Ingrid Pollard addresses her feelings towards the rural countryside as a non-white British subject, articulating her profound sense of being an outsider to these spaces. In some of her projects, Pollard hand tints black-and-white prints. This strategy has a dual purpose: firstly, it is a play on the idea of ‘colour’ in terms of race; and secondly, the use of this antiquated process immediately refers to nostalgic, romanticised ideals of the British landscape.

    In Miss Pollard’s Party (1993), Pollard parodies the tourist postcard, placing her own hand-tinted images on a template depicting ‘Wordsworth Heritage’.

    In Pastoral Interlude (1987) Pollard juxtaposes photographs of figures in the landscape (some of which are herself) with more subversive captions, such as: “It’s as if the Black experience is only lived within an urban environment. I thought I liked the Lake District; where I wandered lonely as a Black face in a sea of white. A visit to the countryside is always accompanied by a feeling of unease; dread.”

    Ingrid Pollard is unusual in that her practice addresses not only her sense of identity as a nonwhite British subject in the UK, but also her experience in relation to the countryside. What Pollard’s work also shows is that the concept of ‘environment’ in relation to the influence of a sense of place transcends geographical concerns alone. Whether a more deep-seated dichotomy exists between the interests of those from or living in the countryside and those in the towns is also a question that extends beyond UK borders.

    Listen to Ingrid Pollard talking about her work and landscape

    Source: Alexander p123

  • Harandani Dikko Notes

    Mali website a bit claustrophobic

    La moustiquaire  beautiful black and white images through mosquito nets. Can’t download any of the text. Has facebook page.

  • Francois_Xavier Gbre Rough Notes

    Mali  website

    No artist’s statement or introduction. Very simple white portfolio site. Has links to exhibitions and press releases etc.

    Tracks  review  very atmoshperic view of urban decay

    Mali Militari

    Mes tissages urbains

  • Nii Obodai Rough Notes

    Nigeria  Wordpress 2012 theme website but the gallery does not work.

     

    Artist statement:

    “My photography is the process of openly expressing what gives me the energy to remain sane and to visualize the art of life as I experience it.

    My observation is that thought is image and vice versa. Thought is shaped by the mystery of now. When I create an image it’s not with a detached eye but with the reasoning that I am part observer, explorer, creator and messenger, with an artist’s inspiration from nature’s expression of being.

    I desire to engage the past, traveling the places that create memory and thus to see a way into the future. I explore the zones between tradition, improvisation and modernity, documenting a New Africa. In this landscape of wonder, with its unlikely adeptness, cultures merge, positive traditions remain in contemporary living, faces of the Diaspora return home and spiritual stories are told not to be forgotten.

    Having our thoughts come in the form of images, then what better method of communication than to use photography to express my imagination and allow for transformation. Going beyond the beyond. It‚s my way of exposing an exciting world where the least is more and beauty is undeniable. Finding and giving strength in simple ideas.

    Spirit culture landscape earth music dance poetry space structure people infinity light. Cosmic tension and release. Healing.”

    CV

    Francis Nii Obodai Provencal
    Photographer/Artist

    Born in Accra, Ghana and has lived in England, Nigeria and Ghana, Francis Nii Obodai Provencal is at ease with the vast and diverse world of his continent. His work mainly explores the urban and rural, not with a detached eye, but with an artist’s careful watching, with a strong interest in history and a love of the stories that abound in his world.

    Nii Obodai’s photographs are a conduit into a vibrant space. In his travels he discovers and explores the meaning of Farafina*. Here we merge into the zone between tradition, improvisation and modernity. We begin to feel the spirit of Farafina, with its adeptness where religions come together, traditions remain in contemporary living, faces of the Diaspora returned home and spiritual stories are told, from within a landscape of beauty. Nii Obodai is unafraid to challenge the common catch cries of what is accepted to be Africa – war, corruption, helplessness. We share his positive awareness of the daily lives of millions of normal people across the continent. In the images of Nii Obodai, the land of the Farafina is living poetry.

    Nii Obodai is presently based in Ghana where he works and lives. He enjoys facilitating inspirational workshops on photography and continues to travel exploring and recording the vibrant essence of life. Nii Obodai has exhibited in Accra, Paris, Bristol, Den Haag, Amsterdam, Bamako.

    Current Works:

    Who Knows Tomorrow, a collaborative book project with Algerian-French photographer, Bruno Boudjelal.  This work is a poetic journey that explores the legacy of independence.

    Liberation Of Soul, a work in progress of interviews and portraits of people in Africa exploring their vision for the future.  Liberation Of Soul is created with audio and photography.

    Farafina Creates, a practical experience of design and construction with natural building resources.  This project explores the technologies and possibilities of rural potential. Farafina Creates also explores the relationship between architecture and landscape.  It’s in collaboration with Selassi Tettevie (artist/designer) and the Akplease Family of the Volta Region, Ghana. The Akplease’s are mud earth builders and forest-keepers.

    Books:

    Nii Kwei’s Day

    Zetaheal

    Recent Exhibitions:

    Who Knows Tomorrow, April 2009, Alliance Francaise, Accra

    Who Knows Tomorrow, June 2009, Centre Atlantique de la Photographie, Brest

    Residencies:

    The Cité Internationale des Arts, 2005, Paris

    Clark Bursary, Watershed, 2007, Bristol

    *Farafina – Bambara Language (mali) meaning “Land Of The Black Skin

  • Mathua Mateka Rough Notes

    Website   much too flashy. One very large image that takes ages to load, even on my fast connection, never mind slow ones in Africa. Rolling slideshows etc down right hand side lead to very slow loading large images. Seems to be trying to use the most jazzy tools for photo galleries. But very confusing and doesn’t really work.

    Entry screen is Maasai ?girl with nipple half exposed. Is this a tongue-in cheek parody of African exoticism or just cheesy??

    Confusing icons like the power button to get to the main menu.

    Landscape not very original.

    Instagram showcase  some possibly interesting ‘over-the-top digitally-manipulated colour’ images for advertising.

    I am a city-changer

    General impression he is rather full of himself.

    Artist Statement

    I – Mutua Matheka – am an artist born and bred in Machakos and fine-tuned by Nairobi. I draw, sketch, mold stuff, destroy stuff & occasionally create stuff… I have been drawing and sketching since my mother placed crayons in my hands at just 3 years of age. The art has since then morphed from Drawing, Illustration, Graphic art, Architectural Visualization to Photography, my latest obsession. When I’m not meeting a deadline or sharpening crayons, I love to get my adrenaline pounding by riding motorbikes, mountain climbing, and (if I got a chance) para-troop and ski.

    I am a graduate Architect from Jomo Kenyatta University of Agriculture & Technology (J.K.U.A.T), now fully applying my architectural eye to capture Architecture, cityscapes & landscapes. I love photography and I hope you can see that love by looking through my images.

    I credit my creativity to The Creator who is the number one creative in my books, and my mom for the 3yr old crayon awakening. Also, I’m happily married to a beautiful woman who also doubles as a personal model.

    Together with David ‘Blackman’ Muthami and the UN Habitat, we are using my photography of urban spaces in Africa to showcase a beautiful Nairobi and eventually Africa. Through the ‘I’m a City Changer‘ campaign, we seek to change mindsets of people in cities especially in Africa about their cities. Take a look at the ‘I’m A City Changer‘ page on my website to see the images that people all over the world are sharing to show why they love their cities. To this effect we held the first photography showcase for ‘I’m a City Chager’ in Nairobi that attracted lots of media attention.

    I’ve been featured in Nokia’s ‘Teddy Bears & Talking drums’, a documentary (view here), ADA (African Digital Art), Afri-Love (Afri-love.com), BBC News Africa’s In Pictures, Nation Newspaper feature, Kiss 100′s Breakfast show with Caroline Mutoko, Zuqka magazine (Nation newspaper). I have won the pioneer BAKE AWARD for best Photography Blog in Kenya, as well as being nominated for the International CSS DESIGN Award based in the United States, putting both Kenya and Africa on the Map in photography. My photos have been used by BBC MEDIA, KUVAA IN NETHERLANDS, African Digital Art, NTV’s PM LIVE, among other avenues showcasing excellence.

    I’ve also had the privilege of working with: Image 360 designs, Iseme, Kamau & Maema Advocates, Symbion Architects, Reata Apartments, Radio Jambo, Kiota Guest house, Exotic Golf Safaris, UP Magazine, Kobo Safaris, and artists like: Blackman, Daddy Owen, Bupe, Anto Neosoul, Neema, Ruth Wamuyu, Kevo Juice, Five.Oh.One, Dj MO, Monique, Ma3 band, Sara Mitaru, among many other amazing people.

    You can connect with me through any of the avenues listed below:

    To contact me on any general thing please email [info at mutuamatheka.co.ke]

    For information about my prints or to purchase any of my images kindly email [sales at mutuamatheka.co.ke]

  • Dillon Marsh Rough Notes

    South Africa landscape website

    Themed series of mostly fairly muted colour images of diamond and copper mines, pathways and trees in landscape.

    Biography:

    I was born in Cape Town in 1981 and I continue to live there today. I received a Bachelor’s Degree in Fine Art from the University of Stellenbosch and during the course of my studies I was drawn to photography and I have remained passionate about it ever since.

    Solo Exhibitions:

    2012 – Landmarks I, Blank Projects, Cape Town, South Africa
    2011 – Lay of the Land, AVA Gallery, Cape Town, South Africa

    Selected Group Exhibitions:

    2014 – Pangaea: New Art From Africa and Latin America, Saatchi Gallery, London, England
    2013 – Present Tense, Next Future, Lisbon, Portugal and Paris, France
    2013 – POPCAP’13, Piclet.org, Basel, Switzerland, Dublin, Ireland and Lagos, Nigeria
    2013 – ExtraOrdinary, Noorderlicht, Drenthe, Netherlands
    2013 – The Benediction of Shade, David Krut Projects, Cape Town, South Africa
    2012 – Material / Representation, Brundyn + Gonsalves, Cape Town, South Africa
    2012 – Landscape Re-Orientation, David Krut Projects, Cape Town, South Africa
    2011 – A Natural Selection: 1991 – 2011, AVA Gallery, Cape Town, South Africa
    2011 – e-SCAPES, Workshop Gallery, Parkwood, Johannesburg, South Africa
    2010 – Spier Contemporary, City Hall, Cape Town, South Africa
    2008 – Sasol New Signatures, Pretoria Art Museum, Pretoria, South Africa