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	<title>Soul Camera </title>
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	<pubDate>Fri, 01 Oct 2021 11:25:19 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://soulcamera.org/Home</link>

		<pubDate>Fri, 01 Oct 2021 11:25:17 +0000</pubDate>

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		<title>Sympathy with small things...</title>
				
		<link>https://soulcamera.org/Sympathy-with-small-things</link>

		<pubDate>Fri, 01 Oct 2021 11:25:17 +0000</pubDate>

		<dc:creator>Soul Camera </dc:creator>

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	Sympathy with small things when time stops


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	This series uses photography to pinpoint deep feelings of distress and loss to articulate without words, capture and eventually let go. In 2020, just before the COVID-19 lockdown, I found out that I was pregnant and one month later that I had experienced a miscarriage. Living within enforced isolation, with minimal forms of distraction or escape, required new ways to recognise and deal with emotions. The resulting photographs are taken at home and in the surrounding area; the locale allowed for the once-daily walk. The nearby canal was a place to viscerally experience the atmosphere and climate, raindrops meeting tears and sunshine lifting the darkness.

 This process created an opportunity to see the pain as an open wound, intentionally not turning away from it, to communicate honestly in a way which can be a therapeutic device for others experiencing similar trauma. This approach goes against many communities’ silence about miscarriage, despite how common it is, and also draws our attention to the natural tendency to hide our experience of difficult life events.
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		<title>What once was...</title>
				
		<link>https://soulcamera.org/What-once-was</link>

		<pubDate>Fri, 01 Oct 2021 11:25:18 +0000</pubDate>

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	What once was will never be


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	This project navigates a personal route through sudden and extreme severe illness. The first image, a self-portrait, is taken just after receiving a brain tumour diagnosis by letter on 4 June 2018. The obtuse wording of the doctor’s note led to a search online for an explanation and to the realisation that the meningioma was a tumour on the right optic nerve. I saw this initial image as the first picture of my last story. There were several layers of trauma to come as the original shock of diagnosis moved through an invasive operation and extended healing process. Each phase brought up different emotions, during which photographs were created as a form of reflection and security within the uncertainty.
Following the operation, the sight in my right eye was lost, and most of the photos were inspired by this newly reduced vision.&#38;nbsp; Different cameras were used according to the context or event, from spontaneous mobile phone shots to a picture taken with a Mamiya RB67 medium format film camera, imitating the slow process of healing.


	&#60;img width="1392" height="1070" width_o="1392" height_o="1070" data-src="https://freight.cargo.site/t/original/i/2d6f4252b37cb8d7a9c6adaf7396579ad5b6c71b9238f663ec71b5a4584c6987/Screenshot-2021-10-01-at-23.09.21.png" data-mid="120462231" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/2d6f4252b37cb8d7a9c6adaf7396579ad5b6c71b9238f663ec71b5a4584c6987/Screenshot-2021-10-01-at-23.09.21.png" /&#62;
	Screenshots of a six-hour performance video entitled Holding It Together show the grim strength needed to deal with severe illness. This piece was inspired by the art of Marina Abramović, who often brings the most tender parts of life into focus.


	Since sharing these images, others have responded to the raw honesty within them, opening up about their struggles. Through this process, the images can bring some sort of relief to the viewer.


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		<title>A Bleached Legacy</title>
				
		<link>https://soulcamera.org/A-Bleached-Legacy</link>

		<pubDate>Fri, 01 Oct 2021 11:25:19 +0000</pubDate>

		<dc:creator>Soul Camera </dc:creator>

		<guid isPermaLink="true">https://soulcamera.org/A-Bleached-Legacy</guid>

		<description>A Bleached Legacy



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	A Bleached Legacy was inspired by a close friend’s story of experiencing colourism within her community. The work uses typology to refer to the scrutiny and classification inherent in observing skin colour. My friend had experienced engrained prejudice from female family members of Ugandan descent who had seen her skin tone much more in line with her Sudanese father’s. This led to pressure to use skin-bleaching products during her adolescence to be accepted. She could only build a wider perspective on this once she travelled to Uganda when she was 18. This enabled her to reverse a psychological and physical process of always aspiring to look lighter to match a beauty ideal. She established a support website for others to counteract the harmful effects of colourism. She is also one of the models photographed.


Colourism has long roots within well-documented 20th-century history, including through additional levels of persecution within structures of slavery and early emancipation. However, it is still affecting people’s lives in the 21st century.


Part of the research revealed references to the Brown Bag Paper Test, which is a way of speaking about the determining factor of comparison, which leads to separation within many African-American social institutions. Skin lighter than the paper grocery bag meant acceptance into sororities, fraternities and churches, whereas skin darker than the bag meant these privileged positions, themselves part of the social mobility structure, were barred.


This essence of societal blocking is reflected within A Bleached Legacy, where the subject’s faces are obscured with standardised brown paper bags. In this series, however, it is the bags that become increasingly bleached. The lightening of the paper mirrors the emotional and dermatological deterioration caused by colourism within society.
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		<title>Shadowland</title>
				
		<link>https://soulcamera.org/Shadowland</link>

		<pubDate>Fri, 01 Oct 2021 11:25:19 +0000</pubDate>

		<dc:creator>Soul Camera </dc:creator>

		<guid isPermaLink="true">https://soulcamera.org/Shadowland</guid>

		<description>
	Shadowland

	
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Shadowland is a series of photographs taken in Hungary that seeks to raise awareness of the misuse of European Union funds. The series was made in advance of the 2018 national elections during which Prime Minister Orbán’s son-in-law, István Tiborcz, was embroiled in unprecedented scandal in relation to his business dealings with the public procurement system. He had been a co-owner of the Hungarian logistics company Elios but sold his stake shortly before the EU’s Anti-Fraud Office began investigating the organisation. They were pursuing claims that Elios had been a mechanism for large scale organised crime in delivering government street lighting projects at 50% over the market rate, with figures of hundreds of millions of euros in contention. 
The photographs show ordinary Hungarians who dared to stand up and criticise the government over this issue. They are highlighted by the shafts of light falling from the sparse Elios street lights, reflecting the fact that these individuals have worked hard to bring the issue into the light. Overall the project is heavily cloaked in an aesthetic of darkness, indicating the deeply hidden dealings that are taking place at the interface between business and political decision makers.

The editorial staff that published the series had to move on because their voice had been compromised. However, their crowdfunded web portal carries on delivering independent Hungarian journalism. 
Read more..

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