New College Stamford’s Photography Graduates Present ‘Tyro’

Participating students; Robert Jackson, Christopher Day, Jacquelyne Harris, Kat Burkinshaw, Ryan Overson and Nathan Ashurst with tutor Graham Wills.

The exhibition ‘Tyro’ hosts work by graduating students on the Photography degree course at New College Stamford.

Today New College Stamford is a developing institution with ambition. Students on the two-year foundation degree programme are offered a unique learning experience. The compact nature of the course provides a perfect platform for a distinctive approach to creative image making. Students select the programme because it provides intensive guidance and despite its rural location adopts an outward focused agenda.

The 2012 exhibition showcases the work of six Stamford degree students who are gradually establishing themselves as dedicated and skillful practitioners.

This year ‘Tyro’ presents a panel discussion on 21st June (2-4pm) comprising of renouned photographers Nigel Shafran, Venetia Dearden and Laura Pannack. The overall theme of the discussion centers around the significance of personal projects in the development of commercial practice.


Christopher Day

This series of images explores the idea of cultural duality the concept of a nation’s customs and people being geographically transposed and influenced by an external culture. The work illustrates how Polish citizens have relocated to the United Kingdom, exploring how they have been able to maintain their own cultural identity and adapt. The project records the private lives of Polish citizens both here in the U.K and in Poland. It provides an external document illustrating a ‘new life’ and an intimate vision of the way people live within a disparate society.

Kat Burkinshaw

This series of images focuses on landscape as a genre and how we interact with nature, both directly and indirectly through the production of photographic imagery. Shot within one wooded area, the images look at how we traditionally identify with a physical landscape and also how we are inspired by its more sublime aspect. The chosen woodland itself is managed, so a lot of the work centres around looking for evidence of this within what appears to be a naturalistic environment. The images themselves question why we regard landscape that is seemingly natural as ‘beautiful’ when much of the landscape we come into contact with is manufactured. The series was shot on medium format analogue technology to keep both subject and process as intuitive as possible.

Nathan Ashurst

Through a process of visual communication we can communicate various aspects of portraiture to understand the reasons behind why we feel the need to photograph and document people’s lifestyles or their unique characteristics and features. This project aims to document pensioners who live independently in their own home. The theme represents a body of work, which expresses sympathetically the emotions associated with a person and their environment. It investigates a sense of vulnerability and stresses the fact that the majority of pensioners today are often removed from their original family environment and placed into care homes. The imagery produced also aims to illustrate to the ‘outsider’ the emotional loneliness of independent living, which often goes unseen.

Robert Jackson

The Reykjavik project visually explores the concept of identity focusing specifically on young adults that are socially linked together in this instance living within the confines of central Reykjavik. The series features both indigenous and foreign subjects, exploring what attracts them to a particular location and how this location contributes to a specific persona. The images represent an observed self-reflection on a specific location that holds significance to each subject.

Jacquelyn Harris

This collection of work focuses exclusively on young adolescent girls recording the miniscule changes rarely observed throughout the passage of time. Its approach utilizes the well-established deadpan aesthetic whilst subtly critiquing its rather dispassionate perspective. It attempts to disjoint the image from the everyday and questions the viewers’ contribution towards a formal understanding of the subtle truths within the image.

Ryan Overson

Conceptually my work is about exploring relationships between ourselves and how our social values affect the way we take photographs. Finding a visual language that can communicate these ideas is something I enjoy. My work explores being a non-tourist in a tourist situation and removing ones self from the equation in order to prevent prior knowledge to intervene with the context of the image. Individually, my work describes the connection we have to our home whilst collectively, describing the relationship that each person has to each other.

The show will run from the 18th – 24th June at the Strand Gallery.


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