Explore a world of art as you embark on a walking adventure through this forest trail in Ontario – The Haliburton Sculpture Forest.
There’s a sculpture forest walk in Ontario with six one-of-a-kind benches
Photography Workshop – A unique workshop with Lise Sarfati in Paris
A workshop is like a revelation. The participant can confront himself with the gaze of others, and in so doing, feel that he exists as a photographer or artist.
Photography renders the world framed, flat and static. Photography reconfigures the reality. We’ll be working on an approach to representation and observation of the world.
The relationship with the city will be the theme of the workshop. Participants will choose an approach to working in the city, during the day, at night or at sunrise.
All forms and experiences are welcome (film, photography, diary).
Each participant will find his or her own emotional terrain in the city of Paris or its suburbs, to project himself or herself and create a fictional, documentary, conceptual, archaeological or topographical series.
A visit to the Centre Georges Pompidou to see the exhibition “Corps à Corps” with commentary by Lise Sarfati, will be organised on Friday 17th November. Participants will be able to discover the exhibition, which brings together the museum’s public photographic collection and the private collection of Marin Karmitz.
Lise Sarfati is a French photographer and artist who lives and works between Paris and Los Angeles. Her work has been the subject of numerous solo exhibitions with the Yossi Milo Gallery, New York, the Rose Gallery, Los Angeles, Brancolini Grimaldi, London & Rome, and institutions such as LACMA, among others. Her photographs can be found in private and public collections such as SFMOMA, LACMA, Pier 24, De Young Museum, Brooklyn Museum, Centre Georges Pompidou, MEP among others. Lise Sarfati has won the prestigious Prix Niépce in Paris, and the Infinity Award from the International Center of Photography in New York.
More information
www.lisesarfati.com
Instagram – Lise Sarfati
Instagram – ArtFotoMode
Workshop is organised by ArtFotoMode with Lise Sarfati
More information : www.artfotomode.com/workshop/lise-sarfati
Send your application to: [email protected]
All welcome but limited places available
Early bird deadline: 13 October 2023
Deadline for workshop: 3 November 2023
Best Indigenous-Made Goods
“Shop local” is a popular buzz phrase these days, and with good reason: When you buy from an Arizona business, significantly more of the store’s revenue stays in-state to bolster the economy. Practical Art in Central Phoenix has been exemplifying the phrase for 15 years, selling the work of some of the city’s best artists, including Ann Morton, Janel Garza, Carrie Marill, Christopher Jagmin, Jon Arvizu and dozens more in the form of paintings, prints, jewelry, T-shirts, ceramics, sculptures and kitchenware. If you can’t get enough of Practical Art’s merchandise, you can join its Art Club, where a moderate fee gets you one new item per month, plus exclusive offers and invitations to special events.
Hawaii’s Mauna Lani Hotel Prioritizes Serenity and Connection
The Mauna Lani, Auberge Resorts Collection recently underwent a complete design transformation with refreshed interiors spearheaded by Meyer Davis. Named Mauna Lani, a term which translates to “mountain reaching heaven,” the resort resonates profoundly with the innate spirituality and cultural heritage that Hawaii embodies. The newly renovated property aimed to forge a deep connection between its guests and the vibrant, untamed land that it graces.
Visitors stepping into the resort are greeted by an aesthetic that aligns with a modern yet organic ethos. The design strategy prioritizes serenity and connection, utilizing natural materials such as hardwood complemented by a color palette that mirrors the surrounding environment. Each living space is a sanctuary of tranquility, featuring furnished lanai balconies that serve as the perfect vantage point to soak in the mesmerizing mountain and ocean views.
The property pays deep respects to its roots, including creating a position for resident historian and cultural ambassador Danny Akaka, fondly known by many as “Uncle” Danny. He is an embodiment of the rich Hawaiian heritage that the resort seeks to preserve and promote. In addition, Hawaii-native Kelly Sueda was brought on board to design some of the spaces, bringing in his natural talent of art advisory and scouting to introduce unique furniture and sculptures along with overseeing the completion of two massive floor-to-ceiling murals placed on either side of the main lobby.
Nicole Franzen
Nicole Franzen
Nicole Franzen
Photographer Who Sued Hilary Duff Over ‘Creep’ Claim Has Died
The photographer who sued Hilary Duff for calling him a “creep” for shooting a kid’s football game has reportedly died.
According to MyNewsLA.com, the attorney for photographer Darryl Wilkins confirmed that his client had died.
MyNewsLA.com reports that Wilkins’ attorney Fred Hanassab told Judge Upinder S. Kalra in the Los Angeles Superior Court that he had lost contact with his client.
Hanassab then discovered a media report stating that the 67-year-old photographer had died “in a vehicle” on May 19 and that the official cause of death was atherosclerotic cardiovascular disease.
A Photographer Who Sued Hilary Duff for Defamation
In February 2020, Duff called Wilkins a “creep” and accused him of “stalking minors” on social media after the actress noticed him taking pictures of her seven-year-old son’s football match.
Duff started recording Wilkins with her smartphone camera and confronted the photographer — who said he was taking pictures of children playing football at a public park to test out his new camera gear.
“Can you stop taking pictures of the kids please?” Duff is heard on camera asking Wilkins.
“It’s legal. I’m taking pictures. I’m practicing photography. I’m not here to scare you or anything like that. Your paranoia is unwarranted,” Wilkins replies in the video.
Duff then posted a clip of the confrontation to her millions of followers on Instagram with the caption: “Paparazzi shooting kids. Go ‘practice’ your photography on adults! Creep! Laws need to change! This is stalking minors! Disgusting!”
After Duff’s video went viral, host Wendy Williams discussed Wilkins on her talk show The Wendy Williams Show and described the incident as “creepy to me.”
Wilkins then filed a defamation lawsuit against Duff and Williams, claiming that they both used innuendo and their celebrity platforms in a way that damaged his reputation.
However, in May 2022, the judge disagreed and tentatively dismissed the defamation portion of the case, citing free speech and California’s Strategic Lawsuit Against Public Participation law (SLAPP) which is designed to prevent lawsuits or the threat of lawsuits to intimidate those who are exercising their First Amendment rights.
MyNewsLA.com reports that Duff has filed an anti-SLAPP motion that was scheduled for hearing on October 12. Judge Kalra reportedly did not dismiss the complaint and left the upcoming hearing on the calendar to address other ideas.
Image credits: Header photo partly licensed via Depositphotos.
The Most Dramatic Operation to Recover Looted Native American Art
As the sun rose on June 10, 2009, the small city of Blanding, Utah, looked more like a scene from an action movie than real life. Over 100 armed FBI agents descended on eight homes to arrest the 23 people they considered key players grave-robbing ring in a modern grave-robbing ring. The raid and subsequent fallout have divided the community ever since, with some feeling that it was a long-overdue response to the looting of Indigenous sites, while others regard it as an example of government overreach and overkill.
A History of Looting Native American Artifacts
But how did we get to a point where such significant looting was going on in the first place?
Unfortunately, the looting of Native American artifacts has a long and troubling history in the Americas, dating to the first European explorers. Seen as exotic novelties, it was not unusual for people, corpses, and their material culture to be taken for display in Europe, often without consent.
As the impact of colonization resulted in the death of an estimated 90% of the Indigenous population, settlers and Europeans increasingly began to regard Native American cultures as dead or dying. By the late 1800s, this belief, known as “the myth of the vanished Indian”, led a great many Antiquarians and Anthropologists to launch expeditions across the Americas with the goal of collecting as much material culture as possible for museums and universities across North America and Europe.
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At the same time, private individuals were looting Indigenous sites with no lofty but misguided ideals of “saving” Native American cultures from being forgotten. Rather, they were in it for the money. So long as wealthy collectors worldwide desired rare and interesting artifacts from the Americas without asking too many questions about how the item was acquired.
Actual Native Americans were never asked for permission or consent.
The Government Intervenes
Concern about these private looters and dealers led the US government to pass the Antiquities Act in 1906. This was to protect archaeological material — including human remains — from looters and dealers by designating them as federal resources. In 1979 the Archaeological Resources Protection Act (ARPA) was passed, which regards Indigenous sites over 100 years old to be “an irreplaceable part of the Nation’s heritage”.
These acts, it should be noted, were not to protect Native American sites from exploitation, but only from unsanctioned excavation. It was still fine to disturb Indigenous sacred sites and take artifacts from them if the government said you could or if the sites were on private land. While still deeply problematic regarding the treatment of Native American sites and materials, ARPA at least made the trade of indigenous artifacts recovered on tribal or federal property illegal.
Looting Shenanigans in Utah
It was not exactly a surprise to the US Bureau of Land Management (BLM), the agency responsible for managing Federal Lands, that widespread looting was still ongoing despite ARPA.
In the Four Corners region, and particularly in the South East corner of Utah, “pot hunting” had become an ingrained part of the local culture, at least among the non-Native population, with everyone from family groups on day trips to commercial grave robbers with helicopters engaged in digging up ancient Native American artifacts for their personal collections. By 1979, almost 50% of archaeological sites had already been plundered by looters.
These artifacts were mostly, but not exclusively, from the Anasazi people, an ancient culture who occupied the Colorado Plateau between 1500BCE and 1300CE before they disappeared, leaving a rich material legacy of cave dwellings, beautiful ceramics, turkey-feather blankets, and weaponry.
The Hopi and Zuni nations are considered the direct descendants of the Anasazi, while the Navajo nation, who occupy the same region, regard them with deference and respect as their forebears on the land. All these Native American nations have deep-rooted religious and cultural practices about the Anasazi, however, and strongly feel that their remains should be considered sacred sites and left in peace. The looters, obviously, disagreed.
In 1986, law enforcement raided over 15 homes and businesses in Utah for their illegal looting and trading of Anasazi artifacts, even catching county commissioners in their sweep, but the State Attorney refused to press charges. Pot hunting continued, and while BLM and the FBI did make occasional arrests, it was incredibly rare for anyone to face serious consequences for their crimes, no matter the damage they had done to sacred sites and the archaeological record.
But then, in 2006, law enforcement finally got a break.
Operation Cerberus Action
Ted Gardiner hadn’t started out to become a looter and dealer in Anasazi artifacts. In fact, he had initially had a great respect for the ancient culture, and regarded digging on their sites as sacrilege. A series of personal setbacks and addiction issues, however, had left him homeless and desperate, so he turned to looting and trading as a way to make an income. As he continued to spiral downwards, a local BLM ranger took notice, and directed the FBI to Gardiner with an offer: help law enforcement to infiltrate the local looting ring in exchange for $7,500 a month and immunity.
FBI special agent Gibson Wilson and BLM special agent Dan Love worked with Gardiner to identify the black market traders in looted Native American artifacts. Over the next two years, Gardiner wore a wire as he conversed with the suspects, made deals for illegally obtained items, and even accompanied them on looting trips on Federal and Tribal lands. Even though the dealers would often provide fake provenance letters for the items Gardiner bought, claiming they were from private land, he would make them show him on maps where the item had really been procured. This evidence was used to prove that the looters knew they were taking the items illegally. In this way, the task force obtained over 256 items valued at over $300,000 dollars from around 25 looters and illegal dealers.
Once they had the goods, the FBI prepared to move in for the arrests; their operation was called Cerberus Action.
On the morning of June 10th 2009, armed FBI officers descended on the predominantly Mormon town of Blanding, Utah, assisted by BLM agents and local and state police. Twenty-four people were ultimately arrested and later indicted by a grand jury in what the FBI regarded as a strong message to looters and black-market dealers across the country: the trade in illegally obtained Native American goods would no longer be tolerated.
Over 40,000 objects were seized from multiple private residences, including pottery, textiles, ancient clothing, figurines, and more. Some of the items recovered are unique in the record and are of significant cultural, scientific, and archaeological interest, while others have been stripped of all historic value as it is unknown where they were recovered.
The suspects, however, were not the type of people that most would consider key players in the shady world of illegal antiquities dealing. They included a high school math teacher, the brother of a local sheriff, respected senior citizens, and the local doctor. The raid and their arrest caused an uproar in the 3000-strong community of Blanding, and almost immediately, claims of government overreach and excessive force began to fly. Locals were quickly divided into two camps: those who felt that Operation Cerberus Action was long overdue, and those who felt the people who had been arrested had done nothing wrong.
The Fallout
While no one was physically hurt during the FBI raid, casualties did occur in the following months, starting with the suicide of Dr James Redd, the morning after he was arrested. He was facing felony charges with potential imprisonment due to the collection that his wife, Jeanne, was so passionate about collecting despite earlier brushes with the law, and his daughter had also been arrested and charged.
Dr Redd and Jeanne had previously been charged with the felony desecration of a grave in 1996, the case dragging on for five years and causing him significant stress and torment. The charges against him were ultimately dropped while his wife got only six months probation, but the prospect of going through that process a second time seemed to be too much. The Redds, like other defendants, were told they could face as much as 35 years in prison for their crimes, lose professional licenses, and be branded as criminals within their strict Mormon community.
Jeanne Redd later filed a wrongful death suit against the agents who raided their home, accusing them of using excessive force, inflating the value of the items in their collection and threatening Dr Redd to make him confess to crimes she claims he did not commit. The case was ultimately dismissed as groundless by a federal judge.
Jeanne Redd ultimately pled guilty to seven charges in the Cerberus Action case, while her daughter, Jericca, pled guilty to illegally digging up artifacts on Navajo tribal land. They only received probationary sentencing and paid fines of $2,000 and $300 respectively, although they did forfeit their collections of Native American artifacts.
Dr Redd’s suicide was sadly not the last. The following week collector Steven Shrader also committed suicide following interviews and charges from the FBI in relation to Operation Cerberus Action. He had not been one of the people arrested in the dawn raid, but had been implicated during the investigation.
The final death came a year later. While government informant Ted Gardiner had never expressed any regret over his involvement in Cerberus Action, he was deeply affected by the suicides of Redd and Shrader and felt guilt over their deaths. His addictions resurfaced, and in March 2010, Gardiner took his own life.
Of the rest of the defendants, 11 pled guilty to felonies, eight to misdemeanors and charges were dismissed against six more. Many had to give up their collections and a few faced marginal fines.
No one went to prison.
A Community Divided
BLM specialists spent years sorting through the artifacts recovered as part of Cerberus Action, returning some to their Native American tribal descendants, and placing others into national museum collections for future study. The historical and cultural significance of the collection is considered immeasurable and will be key to furthering our understanding of ancient American cultures.
Despite this, many people in the Four Corners area remain bitter and angry about the case, especially after the suicides. Despite knowing and acknowledging that looting is illegal, they do not feel it is immoral, claiming that the majority of residents still take part in pot-hunting. In their opinion, there is no harm caused by their actions, and if anything, the opinion is that residents have every right to hunt for and collect Indigenous artifacts in their region, and that the Federal government are overstepping their bounds by trying to prosecute those found with illegal items in their possession.
Many others disagree. Archaeologists emphasize how looting has destroyed much of the historic record in the Four Corners region, for once an item has been removed from its context it is not possible to just “put it back”. Local Native American nations regard the trade as tomb robbing and desecration – all the more so because graves are so frequently targeted for their intact goods. Many people feel that NAGPRA does not go far enough and that stricter penalties for looters are necessary to discourage the illegal antiquities trade, because it is an extremely lucrative trade in which few are sufficiently punished for their participation.
Looting Native American Artifacts: The Future
Operation Cerberus Action has not stopped the looting of Native American sites or significantly changed community attitudes toward the practice. If anything, it has made many participants dig their heels in further. Changing attitudes takes time, and a combination of strict penalties coupled with community education and outreach is needed to make any real dent in the trade.
To those who might consider the illegal looting of Native American sites as no big deal, ask yourself this: would you be okay with someone raiding your ancestor’s graves so they could profit from the sale of their bones and items? The descendants of these ancient people are still here, still alive, and still fighting back against the destruction and disrespect of their culture.
Anything can die
Artist Siena Pullinzi on printmaking and her horrific “Inside.”
Pride, pain and parasites: the photography show about the injustice of tropical diseases
At first, they look like studio portraits, reminiscent of the jubilant style of Malick Sidibé. Against lime and verdant green fabrics fashioned into makeshift backdrops, the subjects face the camera. But they do not return our gaze. They are blind.
The portraits are part of a series by the award-winning photojournalist John Kalapo – who worked for a time as a digital archivist preserving the work of Malian photography legends, including Sidibé. In this series, the history of Malian studio portrait photography and documentary converge, as Kalapo evokes the devastating effects of onchocerciasis, known as “river blindness” – a tropical skin disease caused by a parasitic worm – in the Malian villages of Sagabary, Boukarybaye-Bohan, and Kita town.
The portraits are included in the exhibition Reframing Neglect organised by the EndFund, a private philanthropic organisation working to end neglected tropical diseases (NTDs) – 20 conditions that disproportionately affect impoverished communities around the world. Working with activist, artist and entrepreneur Aïda Muluneh, the End Fund commissioned seven African photographers to create bodies of work to inform the viewer on NTDs. The works are also couched as a riposte to the long history of photography of Africa’s problems by white, western charitable organisations.
Putting pain into pictures is a tough task, and photographing the suffering of others remains an extremely contentious activity. Reframing Neglect is an attempt to find a new vocabulary for visualising illness and pain in Africa. Muluneh, the best-known artist in the exhibition, has become a figurehead for this new autonomous visual language of – and for – African issues, shifting the viewer from pity to empathy.
The Ethiopian artist’s conceptual approach combines feverish colours and symbolism with traditional east African body painting techniques in highly choreographed, surreal scenes. You can take the images at face value – they are beautiful and evocative. They also offer allegories about the impact of NTDs: motifs of insects refer to the vectors of invisible, life-altering diseases. In another image, a figure dressed in red stands in a deserted classroom, pointing at a diagram on a blackboard depicting the life cycle of an infectious insect. Embedded in these images are the signs of struggle, as well as a history of survival.
More classical documentary-style images focus on collaboration and individual dignity. Sarah Waiswa spent time with Eunice Atieno, a 48-year-old single mother who has been living with lymphatic filariasis (LF), another disease caused by parasitic worms and a leading cause of permanent disability worldwide. Atieno was diagnosed in 2019, following a mass drug administration exercise that took place in her neighbourhood. Waiswa’s documentation unfolds as an extended portrait, showing vignettes of Atieno’s everyday life as she attends medical appointments and cares for her child at home. Yet the camera remains at a respectful distance – a reminder that this is someone else’s life, inviting reflection rather than action.
It is not always about what a picture shows. Sudanese documentary photographer Ala Kheir worked with individuals in the Stables Industrial Area on the outskirts of Khartoum. Most of the community living there are migrants fleeing conflict elsewhere, and they are gravely affected by NTDs. Kheir’s illusory black and white images attempt to put the problem in a wider context, connecting the city’s architecture and the impact of war across the country with the experiences of its communities. In a haunting suite of double-exposure images, figures are engulfed by the landscapes on which they have been forced to build their temporary homes. The fate of these communities depends on what is happening elsewhere, and the pictures point us there.
As an exhibition of photography, Reframing Neglect is most engaging when it experiments with new forms. Meseret Argaw offers a conceptual series focusing on stories of women living in rural communities in Ethiopia. She combines sculpture and performance, staged, dreamlike scenes of female figures who appear isolated or excluded. They are mesmerising and mysterious interpretations of the experience of living with an NTD – Argaw comes the closest to finding an expression that is artistic and stirring, without being descriptive or illustrative.
There is something raw about this show, as it grapples with photography as both an effective and problematic tool of consciousness-raising, veering from on-the-nose documentation to conceptual art. But it contributes to a discourse and burgeoning style that is still being formed after decades of seeing Africa’s issues through a western lens. But ultimately, this isn’t an exhibition about photography. And if you walk away from the exhibition thinking about the photographs, they haven’t done their job.
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Reframing Neglect is at Cromwell Place, London, until 8 October
Powerful portraits and proud pooches highlight the International Photography Awards 2023
The International Photography Awards (IPA) has just unveiled this year’s winners in the highly anticipated global competition. Now in its twentieth edition, the contest received an overwhelming response with tens of thousands of entries pouring in from across the globe in both the Professional and Non-Professional categories.
This year’s competition showcased an impressive diversity of talent from all corners of the world, with entries spanning a wide array of genres including editorial, landscapes, portraits, wildlife, and abstract photography. The Awards’ core values of celebrating creativity, technical excellence, and captivating storytelling shone through in the outstanding quality of the submissions. The winning entries captivated the judges and reflected a true commitment to the art of photography.
• Check out the best mirrorless cameras, from beginner budget bodies to premium professional models
Judged by a distinguished panel of industry experts who rigorously evaluated the submissions based on technique, composition and narrative, the winners have been selected for their extraordinary contributions to the world of visual storytelling.
From powerful photos documenting the human impact on the war in Ukraine, to deeply personal projects into the death and disappearance of a friend (Edgar Martins) to more lighthearted, beautifully-lit pet portraits (Horst Kistner) the IPA is all-encompassing.
Jury member Quentin Nardi, photo editor of Smithsonian Magazine, expressed his enthusiasm, stating, “As I was viewing the submissions, I was acutely aware and thrilled by the love and passion that people all over the world have for the photograph as a medium for story-telling.
“The work that used light and shadow, composition, technical skills, and complex color exploration to make a more sophisticated image – one that would hold my eye and call to me to linger longer – is the image that got my vote.”
The prestigious titles of Photographer of the Year and Discovery of the Year will be awarded during the upcoming Lucie Awards Gala event at Carnegie Hall in New York. The winning photographs will also be showcased at the IPA Annual Best of Show Exhibition at New York’s Splashlight Studios, commencing on October 28 during the IPA Winners Weekend.
This event promises a host of exciting photography activities, presented and attended by prominent figures from the photography industry and photography enthusiasts alike.
As founder Hossein Farmani remarked, visual storytelling has the ability to transcend boundaries and connect all of us – and each of the photographers selected has shown remarkable skill, vision and passion for the art, making them very worthy winners. To see the full gallery, head to the International Photo Awards website.
(Capitalize, en-dash, tick full “screen below”) (Image credit: Edgar Martins)
(Capitalize, en-dash, tick full “screen below”) (Image credit: Barbara and Maciej Noskowski)
(Capitalize, en-dash, tick full “screen below”) (Image credit: Steffan Reichardt)
(Capitalize, en-dash, tick full “screen below”) (Image credit: Wolfgang Schwan)
Take a look at the best lenses for portraits, the best lenses for landscapes and the best lenses for birds and wildlife photography.
Old-Fashioned Art Photography Revival Centers in Nottingham
A photography facility in Nottingham is reviving a declining art form and giving members of the public the chance to experience life as a professional artist, including having their work displayed in an exhibition.
The ‘Make It Easy Lab’ is based in the city centre and it gives people the chance to learn and produce analogue photography. Since the mid-nineteenth century, this was the only kind of photography available to artists. It involves using chemical processes in a dark room to capture images on paper, film or hard plate. However, the recent popularity of digital photography in the last decade means that it is becoming a dying art form.
Make It Easy Lab supports people of all abilities, and it gives them physical access to facilities such as cameras, darkrooms and scanners, as well as online expertise. The aim is to help people make photographs instead of just taking them. Six people from across the East Midlands were given residencies, which were funded by the University of Nottingham. They received photography training and help to produce a set of images inspired by the Meadows area of Nottingham and their work will be displayed at an exhibition at Beam from 3rd October.
The idea of the residencies was to support aspiring photographers, to offer them access to materials, skills and education, with a view to making a series of photographs about the Meadows. The project has been incredibly successful and I am looking forward to seeing their work exhibited at Beam in October.
This project has not only given us the opportunity to provide educational experiences to individuals within different communities, but it has also enabled us to create an environment in which those individuals can collaborate creatively and reach out to established communities within the Meadows area of Nottingham.
Dan Wheeler from Make It Easy Lab adds: “The individuals we selected for the opportunity who were once keen amateurs are now seasoned practitioners, thinking beyond simply snapping pictures, they are now picture makers! I’m excited for the future of the residency programme and the collective archive it will produce, documenting the city and its creativity.”
“The residency has really been life-changing for me,” says Annie, who took part in the project. “I feel so outrageously lucky to have had this chance to learn how to use my camera and the darkroom properly in such a supportive environment, as well as some of the philosophical and ethical implications of making pictures. I have met brilliant and talented people who I now consider to be friends and have got to know and become part of a community in the Meadows that I would have never had access to if not for the residency. For the first time in my life, I not only feel part of a community of artists, I feel comfortable and justified in calling myself an artist. In discovering film photography, I know I’ve discovered a lifelong creative practice, and I couldn’t be happier or more grateful for that opportunity.”
Fellow participant, Jinni, adds: “As someone who has always considered their creative outlets as “hobbies “only, this project has given me the push to begin looking at my work, and the images I make, in a new light. The mentorship has been invaluable, both through my fellow residents but particularly through the guidance and teaching at Make It Easy. Without this residency, it is more than likely that I wouldn’t have had the funds to access some of the facilities and learning that I have been able to thanks to this program. I am incredibly grateful to have been given this opportunity, which has inspired my practice, enhanced my knowledge and skills, and given me much more confidence in myself as a photographer.”
The exhibition will run from 3rd October until 15th October at Beam. It will be open each Thursday-Saturday from 9am until 5pm and entry is free.
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