exhibition of contemporary photography and video idea13.org/2009/12/last-chance-to-see-exposure-handed-tap/
Millie Burton's Home Improvements consist of a seemingly still film and photographs of unwanted and discarded everyday objects, inspired by a quote by Jonathan Chapman, "waste is a symptom of expired empathy, a kind of failed relationship that leads to the dumping of one by the other". Revisiting her former homes is Adela Bernatikova, and through the use of double exposure, she combines the past and the present, inspecting her emotions and memories.
The Susan Truseler's series In The Woods uses objects from her family home as props, and presents the forest as alluring, mystical, but sinister at the same time. Further into the realm of the imaginary, Ruth Naylor collects and recreates dreams, hanging them on tree branches, because a tree is 'a dream within itself, beautiful and mysterious'. Lyndsay Martin's Edge of Love is a personal body of work based around the emotions following a breakdown of a relationship.
Victoria J Dean's Travelling Landscapes series is a 'poetic depiction of our perceptions of places' we pass by in transit. Kate Peters' pictures from the States are frozen temporary constellations in urban environments, 'suspended narratives where reality has created its own fiction'. Also playing with the trespass between the reality and fiction line is Tina Hage who deploys contemporary photojournalistic and topical imagery from newspapers and the internet to re-enact found crowd scenes.
Other Madonnas by Ruby Wallis each depict a pair of mother and daughter, the tensions and complexity of their relationship. Lucia Pizzani, on the other hand, uses her own body to relate it to an enclosed space, deconstructing it with a mirrored image to the point where it becomes almost abstract.
Theo Tagholm's video The Persistence of Vision is made with camera stills which gives it a dreamy quality whilst Nora Razian's piece is about the process of photography itself, not demystifying it, quite the opposite. Tim Skinner's first public screening of his latest film 12:5 is accompanied by his earlier photographs of sound-disturbed water.