Tag Archives: Brink


As we wrap up our final Graduate Show, let us present Oliver Prowse, our fourth and final photographer, in the series of Artist Profiles for ‘Brink’. We asked him some questions about his techniques and inspirations for his mesmerising and intriguing photographs.

The Body as Landscape

The Body as Landscape

Where did this project begin? Where were your ideas born?

My ideas began when experimenting in the studio. I work with the human figure in various ways, yet I am particularly fascinated with how light can transform elements of the body. I’m interested in what makes the body recognisably human, how we can challenge this and make people reevaluate cemented stereotypes of beauty.

Some elements of surrealist photography can be traced in your style of work. Who inspired this style? Is there anyone you are particularly influenced by?

The style of my images was a result of a very free process of experimentation. However, a strong influence came from the sculptures of Henry Moore. Although I would be wary of directly associating my work with surrealism, it did have a significant impact on Moore. Therefore, I cannot entirely dismiss surrealist links. However, I focused more upon Moore’s visual correlation between the figure and landscapes. My interest in this link is what drove my work and saw me attempting to create a modern, yet timeless series of images that embody landscapes of the figure.

What photographic technique did you employ to achieve the desired effect?

With this series, I looked to make  a set-up as simple as possible. Working with only one light source, I stripped the process of photographing the body back to its rawest form. This enabled me to have  precise control over the way the light fell upon the body, allowing an exact view of the highlighted lines, shapes and contours of figure. The abstract nature of the images was largely achieved varying the camera’s viewpoint relative to the subject. I experimented with figure positioning in order to produce unique perspectives, not instantly  indicative of their original subject.

Is there any particular message you wish to convey in your work?

As opposed to my work conveying a defined message, it is simply a means of making audiences reevaluate their perceptions of the human body and traditional ideas of beauty. I’m also bringing to light what can be achieved in a studio to create new kind of figurative imagery and challenge audience’s visual beliefs.

Oliver’s photography can be seen as part of Brink, showing at The Strand Gallery between until August 10th.

For more of Oliver Prowse’s individual photography, visit his website here.



With our current graduate show Brink well underway, we focus on our third featured photographer Rosie Kliskey. Showcasing images reminiscent of Nan Goldin’s voyeuristic style, we ask Rosie about her inspirations and techniques that led to the creation of her final pieces on display.

We Don't Have To Act Like This

We Don’t Have To Act Like This

Are there any particular photographers who have influenced your project?

There are multiple influences in my work; one being photographer Paul Graham and his publication ‘End of An Age’, encompassing the visuals of youth culture . Further inspiration comes from Wolfgang Tillmans, William Eggleston and the ‘Lovers’ series by photographer Weegee. Collectively, these have had a significant impact on the way I think, create work and see the world through a camera.

What photographic techniques did you use to achieve your desired effects?

For this particular project, I used a compact camera with a harsh flash. I felt this simple method of photography would allow me to mingle in crowd, disguising my process of observing individuals. I thought if I were to use a digital SLR for example, it is more likely the subjects would play up to the camera. Instead, I was able to document the crowds while they were oblivious to my working.

Are there any messages you intended to convey in your work?

It is not so much as a specific message, but rather I am attempting to comment on contemporary youth and the changes in behaviour that occur once the lights go out- when alcohol is consumed. Although some of my images document activities that could be deemed as unbecoming, I look objectively. I am merely observing and recording, not passing  judgement. I attempt to ask questions on social behaviour through my work, intriguing people while making them see the ordinary through a fresh lens.

Do you have any pending photographic projects lined up?

I am currently working on a collaborative project with a fellow graduate Samantha Twitchett. I am also engaging in an investigation into my home town of Pezance, studying the underbelly of an acclaimed touristic destination.

Rosie’s collection ‘We Don’t Have To Act Like This’ can be seen as part of ‘Brink’, on show at The Strand Gallery from the 6th – 10th August.

For a more extensive view of Rosie Kliskey’s work, visit her website here.

ARTIST PROFILE: Laurie Crayston

Our second featured artist this week from the current exhibition ‘Brink’, is Plymouth Photography Graduate Laurie Crayston. We spoke to him about his image  ‘Mine, Landscape’ which is on display here at The Strand Gallery.

Laurie Crayston

Mine, Landscape

Where did this project begin? How did your ideas develop over time?

Growing up in the Lake District, I have always had a fascination with landscapes. In the final year of my degree, I began to create photography that illustrated my close relationship with place, space and nature. As the project developed, it became apparent that by putting myself into the images and placing physical interventions into the landscape, the photographs would begin to represent my autobiographical connections to the places that are meaningful to me.

Do you have any particular photographic inspirations?

Photographically, my work draws from several of Elina Brotherus’ self portraits, which I found particularly stimulating. However, my main inspiration came from the paintings of Casper David Friedrich and JMW Turner. I wanted the photographs to question the nature of the sublime and the relationship between contemporary masculinity and histories of dominance over landscape.

What inspired the image’s atmoshpheric and sombre setting?

I had been waiting some time for the opportunity to shoot in such thick mist. There is something in the connection between mist and water that I find visually perfect and incredibly satisfying. It captures the simplicity of the space when balancing between clarity and obscurity. The serenity of the setting, disrupted only by my presence, creates an intensity that I could not have achieved in any other location.

What photographic techniques did you use to achieve the desired effect?

To create my final outcome, I used the camera’s self-timer. I set it to take several images at a time whilst I attempted a variety of poses and positions that demonstrated my interaction with the landscape. From this performance, a single image was selected. I wanted the photograph to represent the intensity of when I place myself in these landscapes; the significant power I feel when immersed in nature.

Laurie’s work  is part of Brink, on show at the The Strand Gallery from the 6th – 10th August.

Further examples of Laurie Crayston’s work can be viewed here.

ARTIST PROFILE: Rosie Grace Hill

This week we open our doors to the final graduate show of the Summer; Brink, Plymouth University’s Photography Degree Show.

To kick start our series of Artist Profiles this week, we have artist Rosie Grace Hill who we spoke to about the inspirations and techniques used in her final piece, ‘Traces’.



Where did this project begin?

The china clay quarries of Devon and Cornwall are innately beautiful, made so by a strange mesh of nature and man-made intervention. Yet in the past decades, the production of china clay has been in decline. Likewise, the photographic film industry is withering as it gives rise to the digital age. The number of rolls of film sold globally each year, with the amounts of china clay produced, is declining in an almost identical geographic pattern. As a result of research into these industry’s correlating abandonment  I decided to photograph the china clay industries with analogue photographic techniques.

What photographic techniques did you use to achieve the desired effect?

In the early stages of the project, I found my photographic outcomes did nothing to visually portray my concept. I started to alter the development process of the film with substances native to the sites; clay, water from the reservoirs, burnt out machinery etc. I began experimenting by soaking  films in these solutions for 3 days, drying them out for 5, and then shooting directly onto the altered film roll. This abstracted the image at varying levels, portraying traces of industry through traces of the former image.

Are there any particular photographers who have influenced this project? Who did you look up to artistically?

A strong influence for my work has been that of William Arnold, an MA student at Plymouth University. His experiments using ‘primitive and antiquarian’ analogue photographic methods, with digital scanning techniques create something really quite unique. It utilises the best of both processes; beauty of analogue chance with beauty of digital control. It is this that makes his work’s uniqueness  so remarkable in shape, form, colour, technique and process- all emphasising their unique ephemeral quality.

Is there a particular message you wish to convey in your work?

In using different processes to create images of tactility and materiality, the resulting work I produced depicts the traces of industry through traces of photography. Such techniques abstracted the image in various forms, leaving only a trace of the image’s original context,  reflecting back to declining china clay industry spoken of earlier. I’ve found my ideas quite fluid and circular, yet often difficult to explain concisely. Therefore, I would love to continue this project in the future, to push the processes to their extreme and explore new industries and places.

Rosie’s work will be shown alongside her fellow graduates from 6th – 10th August, here at The Strand Gallery.

For more of Rosie Grace Hill’s work, visit her website.


We are pleased to announce the opening of the next in our series of photography degree shows here at The Strand Gallery. The show Brink is brought to us from Plymouth University’s BA Photography Graduates. Demonstrating an array of individual styles and technique, the themes exhibited range from self-representation to documentary. This exhibition will highlight the diverse nature of each student as well as the degree programme itself.

Oliver Prowse

Oliver Prowse

Inspiration for each photograph comes from the everyday ordinary to the extra-ordinary. In the work of Oliver Prowse, we see elements of Surrealist photography with its shadowed tones and selective cropping.

Laurie Crayston

Laurie Crayston

Similar artistic choices and techniques are seen in the work of Laurie Crayston. A sombre yet serene landscape captivates the viewer with its intense atmosphere and composition. This is characteristic to the Plymouth graduate’s work and their powerful imagery.

Nicole Hains

Nicole Hains

In Nicole Hains’ work we see an exploration of photographic technique. Image layering and manipulation culminates into a collage like effect. This demonstrates one of several creative experimentations and styles on display.

Plymouth University’s Brink will be on show at The Strand Gallery from 5th – 11th August 2013

Visit Brink for a deeper look into the work shown and for further previews of their upcoming exhibition.

Written by Alexandra Hale