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‘The Pleasures of the Imagination.’

"The pleasures of the imagination arise originally from sight." Joseph Addison, The Spectator, 1712

The graduating students from the MA photography course at the University of Sunderland
present two consecutive exhibitions. Each of the photographers examines the roles that we assign to vision in understanding the world. Each queries what we cannot see, or do not notice, when navigating our way through the modern world's array of technologies, products, and problems.

 


Part I: 17 November - 13 December
Preview: Thursday 5 December 6:00 - 8:00pm

Iain Harker, Jennifer Kirk, Kim vom Kothen, Corinne Lewis


Iain Harker's series 'The Food Front' imagine a fictional, post-apocalyptic world in which we are all required to create our own subsistence.

Corinne Lewis' work 'Transmutations' observes the natural processes of transformation of matter from one state to another, revealing a set of astonishingly complex patterns and textures.

Kim vom Kothen's project "Conversations in between strangers" captures her relationships with others, observing the conversational 'dance' between herself and her colleagues.

Jennifer Kirk pictures what she calls the ubiquitous "technology landscape", her luminous images of circuit microprocessors picture the microchip technologies we rely upon in daily life.


Iain Harker, from the series 'The Food Front', 2008


Part II: 16 December - 17 January 2009
Closing Event: Thursday 15 January 6:00 - 8:00pm

Juliet Chenery-Robson, Richard Glynn, Toby Lloyd, Claire Rousell


Juliet Chenery-Robson's project 'Unpredictable Patterns' reveals a series of portraits, and of details of lives lived in the shadow of Myalgic Encephalopathy, normally known as ME.

Richard Glynn's work examines a twenty-first century sustainable farm which controls its own supply chain. His 'portraits' capture images of livestock as individual characters not product.

Toby Lloyd's work parodies and celebrates our national obsession with consumer brands and labels, in order to ask where out identity lies in a world saturated with goods.

Claire Rousell's montages combine family photographs and historical maps spanning several generations of women, combining her private memories with wider political histories.


Image:  Richard Glynn, 'Dairy Shorthorn', 2008