About

“You know, sometimes, in describing what I do, I resort to the Latin phrase silva rerum: the forest of things. That’s my subject: the forest of things, as I’ve seen it, living and travelling in it. To capture the world, you have to penetrate it as completely as possible.”

 

When the renowned journalist Ryszard Kapuściński acknowledged that when he produced work he had no choice but to travel in “the forest of things” he did something brave. He centered his practice as a personal journey, and as a journey taken on a pathway traversing a muddied, yet poetically generative terrain.

That we too have had to consider the possibility that we will get lost is the unifying ethos of our photographic practice. That desire to let the world affect us – to let it impress itself upon us – is present in all of our work, whatever category of documentary it belongs to. Gone is the conceit that we are neutral conduits through which, via the play of light on film negative, photosensitive paper, or the digital sensor, the world might be unabashedly illuminated. What we present are works that reject the ease of viewing that the camera portends and, instead, that insist upon the dialogic, faltering, and fallible nature of trying to say something as much of the world as about it.

The critical practices we have developed during the MA in Photojournalism and Documentary Photography at the London College of Communication have given us the gift of being able to present work that is humble; that questions the world and our own image-making practices gently, as all critique should be given: The world, and its forests, have breathing space for retort.

We hope that from 6 pm on the 14th of January 2016 you will bring your own forests of things to the galleries of the LCC in Elephant and Castle so that we might begin to see what hybrids can emerge.


Ryszard Kapuściński challenged journalists and documentarians to feel the world’s events on our skin. Please click here if you would like to read more about our response to this challenge and its implications for truth- and image-making in the digital age.


Press Release available from here

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