FORMER SOLO SHOP, ALBANY
SOUTH ESPLANADE, ST PETER PORT

24 MAY TO 22 JUNE
10AM TO 5PM, MON TO SAT
FREE EXHIBIT

Mustafah Abdulaziz sums up his work and career so far: “I’m drawn to identity as the focus for my photographs not only because it spans across race and class but because I never found any summarization of my identity as a biracial Muslim American to reflect something close to the truth about me. I’m not black, white, or Muslim but a union underscored by America as the common denominator.

Growing up this way made me feel isolated without ways to express experiences of not belonging. Photography is a
language that transcends, giving me the power to create my own perception. By further exploring other peoples identities I can begin to see where my boundaries lie and also reimagine myself in the reflection of other people’s identities. I have travelled across America to develop my perspective and to document my own culture and life. My work is an effort to understand the culture I find myself both alienated by and drawn to.

Born 1986 in New York City as the second of six children and grew up in the mountains of Pennsylvania. A chance encounter at 17 with Avedon’s In The American West and the idea of visually transporting a viewer into the intimate lives of strangers left a strong impression on me. Growing up as a half-white and halfblack American Muslim provided a natural interest in examining social identification and ideas of self-representation. I’m a member of the international photography collective MJR.”

13 VICTORIA ROAD, ST PETER PORT

24 MAY TO 22 JUNE
10AM TO 5PM, MON TO SAT
FREE EXHIBIT

“This body of work is an exploration of change and loss. My father died four and a half years ago from cancer, the
summer before I left for college. While home I witnessed each member of my family dealing with this loss differently,
but together. In going away to school that fall I missed much of the transition period and instead came back each break to something new that had been added or changed at home-fresh wallpaper, different furniture, a new car.

In a way I want to tell my father what has changed since he left, but also show him what we have kept the same in
an attempt to keep parts of him alive. This work serves as a memorial to my father and the life he built. It is my way
of telling him that everyone is okay, that is has been hard, but we are all doing our best to move forward as he would
have wanted us to. I consider the book, its text and images, a conversation between my father and myself. Tucked inside the pages is a physical letter. This letter is a part of the book, but also its own separate piece. It is a letter I have written to my father that can never be sent. It talks about even more of the changes in my life and those of my family, the things he was not able to see, and those I wish he had.” - Kirsty Carpenter

FORMER SOLO SHOP, ALBANY
SOUTH ESPLANADE, ST PETER PORT

24 MAY TO 22 JUNE
10AM TO 5PM, MON TO SAT
FREE EXHIBIT

This photographic essay is a documentary on the immigration crisis along the southern border of the European Union. Conducted over two years in Malta, Spain and Greece, this project looks at the issue of the waiting that migrants have to endure in those areas, which are transition zones in their journeys towards Europe.

The countries bordering with the Mediterranean are very exposed to migration due to their geographical positions. Indeed the routes leading to Europe are diverse, but not so much so that they offer a great choice of countries through which it is possible to enter the Union, Spain, Malta, Italy and Greece are the usual illegal gates used by migrants, travelling from around the globe. Whether they are trying to escape a conflict, discrimination, violence or the lack of prospect in their homelands, all find themselves stuck at the edge of Europe, unable to finish their journeys.

Through the use of evocative, rather than descriptive images, Malika’s photographs show this transition part of the migrant’s journey, as well as the frame of mind of those caught in limbo.

Malika is a French photographer currently based in Britain, having completed her studies on the prestigious documentary photography course at Newport University in June 2011. She has become recognised as a documenter of social issues across Europe. It is her desire that she should not dramatise the lives of her subjects, choosing instead to apply a gentle view of what she observes.

13 VICTORIA ROAD, ST PETER PORT

24 MAY TO 22 JUNE
10AM TO 5PM, MON TO SAT
FREE EXHIBIT

“Belgrade House documents the people and places of my life in Belgrade and is driven by the personal and cultural struggle of going back to a place that is at once foreign and familiar.

I am interested in exploring the tension between geographical distance and emotional closeness. In the 12 years since my immigration to Toronto, at the age of 14, I have gone back to Belgrade on a regular basis, keeping strong ties with family and friends while forming new relationships here. This project stems from the sense of simultaneously belonging and standing out, of looking at a place as both an insider and an outsider.

Belgrade House shows people in private spaces, environments that I associate with family and childhood. It focuses on artefacts and relics that are closely related to memory and growing up. The series is an extension of my compulsion to collect and preserve the people, experiences, and places that are significant and meaningful to me.” - Vuk Dragojevic

Vuk Dragojevic works in a range of visual media including animation, video and photography. His compulsive tendencies sometimes aid him in producing artwork and sometimes prevent him from sleeping at night. Despite his sleep habits, he has managed to produce work that has been shown in exhibits and festivals - both locally and abroad - as well as featured in print and online publications. He lives in Toronto with his fish Valerie.

FORMER SOLO SHOP, ALBANY
SOUTH ESPLANADE, ST PETER PORT

24 MAY TO 22 JUNE
10AM TO 5PM, MON TO SAT
FREE EXHIBIT

Born in Cumbria, England in 1983, Stephen Kelly spent his early childhood in West Africa and the Middle East before moving to Hong Kong where he lived for ten years. Stephen returned to the UK to study, gaining a degree in documentary photography from the University of Wales, Newport.

Stephen’s projects are visual narratives gathered over extended periods of time and influenced greatly by his deep
interest in social, political and environmental issues, with a particular emphasis on China. His series Qi Lihe is an intensely intimate portrait of life within one district on the outskirts of Lanzhou city in Gansu Province, North Western China. The images depict scenes of daily life for thousands of Muslim migrants who have been forced to leave their ancestral homes within the Linxia Hui Autonomous Prefecture and migrate to the provincial capital, in order to survive. Desertification has destroyed their farmlands and they are effectively environmental refugees living on the edge of society, struggling to survive from one day to the next. Stephen’s images intricately weave in and out of people’s homes and through the urban landscape of Qi Lihe, documenting the daily reality of living and working in this environment; an existence so far removed from their previous lives. Through this series Stephen intends to bring to the surface, a community and a situation of which the mass media does not speak.

FORMER SOLO SHOP, ALBANY
SOUTH ESPLANADE, ST PETER PORT

24 MAY TO 22 JUNE
10AM TO 5PM, MON TO SAT
FREE EXHIBIT

After walking thousands of miles from their home countries into Egypt, thousands of Africans make yet another new journey. Disenchanted with their treatment in Egypt, they risk mortal danger to cross the armed border into Israel. They are smuggled over this frontier stretch, marked in parts by nothing more than a weak fence. Led by local Bedouins, they brave armed patrols, and sometimes gunfire from Egyptian border guards, to get across.

Ahikam Seri took up photography when his friend introduced him to a makeshift darkroom at his parents’ warehouse in 1993. During multiple trips to China, India, Japan and South Asia in the 90s, he deepened his interest in documentary photography and between 1995 and 1998 studied photography in Jerusalem. He then went on freelancing for the Israeli media until 2002, and since then his work has appeared in major international titles such as Politiken, L’espresso, Time, US News & World Report, Paris Match, Ei8ht, Private, IoDonna, D La Repubblica Delle Donne, Le Monde, and Independent Magazine, among many others. His work is represented by London-based agency Panos Pictures.

FORMER SOLO SHOP, ALBANY
SOUTH ESPLANADE, ST PETER PORT

24 MAY TO 22 JUNE
10AM TO 5PM, MON TO SAT
FREE EXHIBIT

Tim Bowditch is a photographer, living and working in London. His brother, Matt Bowditch, is a bandsman in the Royal Marines. For his band duties, Matt is based in Exmouth, but in April 2011 he began a three-month tour of Afghanistan. His main role for those three months was driving a Mastiff Ambulance providing medical support on Combat Logistic Patrols – regular convoys that provide supplies to troops all over Helmand. He was based at Camp Bastion, and in between driving as part of the convoys, he worked in the camps’ ambulance crews, and in other roles around Bastion.

These photos are from a part of the war in Afghanistan that we are not used to seeing. There are no images of
combat, though its presence is never far away. There are no moments of obvious distress or danger. There are many
images from ‘outside the wire’, when Matt was driving as part of the convoys, but there are also plenty of pictures
from inside Camp Bastion. Whether on a gruelling 24-hour patrol duty, or just strolling around on his downtime, Matt
managed to document the day-to-day life of the camp as someone who experienced it first hand. There are even a
few photos from Matt’s ‘decompression’ – the day trip taken by British troops to a beach in Cyprus in order to normalise to life outside a war zone before they fly back home.

FORMER SOLO SHOP, ALBANY
SOUTH ESPLANADE, ST PETER PORT

24 MAY TO 22 JUNE
10AM TO 5PM, MON TO SAT
FREE EXHIBIT

When the USSR collapsed in 1991 the past 70 years did not suddenly fade away in a snap. The Soviet legacy has been present, enduring and ongoing since then. Kazakhstan has inherited a heavy and specific one: polygons. Polygons are military sites of undetermined size where the Soviet army tested and improved its armament: ballistic missiles, nuclear bombs, bio weapons or chemical ones. Semipalatinsk was the nuclear test-zone for 40 years, exploding more than 456 atmospheric and underground nuclear bombs. Today there are two main impacts of this polygon on people: those who survive on scrap metal sales and those who die due to radiations and a lack of prevention.

Born and raised in Brussels, Julie David de Lossy graduated in Political Sciences/International Relations before entering the Ministry of Foreign Affairs of Belgium. In 2009, while her passion for photojournalism kept growing, she moved to London to pursue a second Master in Conflict, Security and Development at King’s College.
As she graduated, she decided to address political, environmental and social issues outside of the elite box,
through photography.

While working in Central Asia for a year, Julie developed with Colin Delfosse a project called “20 Years After” analysing a Soviet legacy in each of the five republics of the region at the wake of their 20 years of independence.