Tan, F. (2017) ABOUT. Available at: (Accessed: 13 February 2017).

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VOX POPULI >>> London. (2012). 1st ed. Book Works.

“Hot And Cool Magazine / Lay Around The House And Do Absolutely Nothing (Various Editorials)”. N.p., 2017. Web.  13 Feb. 2017.

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Weitzman, J. (2016) Episode 1 | Duane Michals. Available at: (Accessed: 27 February 2017).

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Cole, T. (2017). Known and Strange Things. First edition. [S.l.]: Faber & Faber

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“Lindsay Bottos”. N.p., 2017. Web. 7 Mar. 2017.

“[No Title], Uta Barth 1995–7 | Tate”. Tate. N.p., 2017. Web. 7 Mar. 2017.


Currently on display at Whitechapel Gallery in London, Terrains of the Body showcases contemporary women artists who embrace the female form in a means of self expression. In particular, Rineke Dijkstra a Dutch photographer living and working in Amsterdam. Whose works convey youth, shot with fill flash located upon beaches. Unavoidably the subjects reflect awkwardness of their adolescence, the uncertainty further blown to a larger scale for us as the audience to exploit and inspect into. Alongside, Hellen van Meene a photographer who also approaches adolescence. Projecting nostalgic essence to their current setting yet hindering the truthfulness of growing up through prop. In reflection, both photographers are of support to chosen concept in regards to the role our childhood plays. Despite disparities between our own work, contextually I am able to apply simliar theory to my practice in terms of youth. 

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Wolfgang Tillmans, currently displaying at Tate Modern. Known for his contemporary photographs of the banal and large installations of prints clearly demonstrated upon visiting the exhibition myself. Including photographic prints beside video, sculpture and sound. Tillmans encourages our participation into the current, submersing us with constructs politically and socially. Taken from 2003 to present and built upon emerging global affairs contextually. In particular, Callum 2011 – a portrait of a subject with focus upon details of the body, evidently the neck. Drawing attention upon detail, in relation to the vulnerability of the human form.  Encouraged by Wolfgang’s arrangements of work in terms of scale and attention to layout, production of the zines will replicate simliar organising, taking note of scale in relation to opposing imagery and how to stimulate a narrative response. 

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Zine example, found from Esty store / documenting woodland community.

Taking note upon the minimalist design and image text relations, a small font choice in ratio to photographs supplies narrative without distraction. An element in which the body of work I produce can amount too, without resulting in complications. A simplistic scheme supports the narrative in mind, regarding the static state of myself without trying to compensate the imagery. Throughout the text holds the photographs. Stimulating narrative for the viewer whilst forming a document to the community portrayed. Evidently zines/photo-books store work in an accessible format, bearing as timeline of events whilst complimenting the final selection for show.


Since reading Teju Cole’s collection of essays ‘Known and Strange Things’ (Cole, 2017), ranging from politics, photography, history and literature it is noticeable of his frequent use of social media as a platform to publish his own works. Supported by passages of text written by himself whilst confronting current world affairs and his own monologue. Coherently Cole fuses multiple photographs into a single upload, directing context for the audience. Mixing between square and wide crops, complimenting each other as the moment passes. Cole’s insights into personal occasions reflect his awareness of light and expertise within photography. With such a coherent style, it would only be of attribute to accommodate simliar principles to my own practice. For instance, mindfully taking caution in regards to light and framing. Considering documenting moments in a snapshot aesthetic, less refined yet of a simliar standard to Cole. 

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A Finnish photographer displaying at Foam museum in Amsterdam, March 2017. The works featured large scaled prints from current photobook, Tranquillity. Documenting the ordinary arranged adjacent to colour selections, juxtaposing the monotones of neighbouring imagery. Clearly visually stimulating, the photographs reveal little in regards to narrative. Further research implies Tranquillity in reality genuinely exists, having been a forgotten town in California. Prior to the context given, the interpretation of the imagery stimulated numerous notions. In terms of frame, evidently Kaski plays upon composition by watching edges and depth of field to capture an honest reflection of the subjects portrayed. With disparity in the size of each photograph within, Kasi also prompts motion. Composing a spool of stills from the overlooked activity continuously churning in a such an omitted town.  In relation to my own motives, the work of Heikki Kaski can only encourage my exploration of scale,  incorporating a blend of film formats infused with archival footage. Rekindling upon the sense of loss to affiliation of the now. 

Lindsay Bottos-Sewell

A freelance artist, predominantly working with photography, video and writing. Seeking the intimacy of relationships and love through a snapshot aesthetic. The body of work carries movement inhibiting cinematic notions, producing a collection of stills and forming narrative to the frames. Evidently, lighting used flickers between natural and hard flash with the pleasant introduction of accidental light leaks. Further encouraging nostalgic essences to her work, a relatable attribute to myself whilst combining documentary with the everyday. Exhibiting a shallow depth of field plungers outcomes into another period, questioning the generation in portrayal. Addressing identity of her youth whilst opposing the relationships between subject, objects and place. Notions  which I aspire to endure through my own practice, participating in documenting the conventional moments through the use of 35mm/120mm whilst rekindling with previous places of relevance.

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Adaptations of reality, through blurred framing and natural light composing hazy abstracted perceptions, contrary to the limitations of our own eye. Barth’s subtle palette hinders melancholy reflecting in muted tones, reminiscing in past and present.  In passing, illustrates numerous components, each contributing to her fine compositions. With cropping Barth utilities the negative space, focusing directly upon edges of the form itself. Casting lyrical notions, depicting an almost unconscious state of mind. Her homely narratives query our perceptions and relationships between environment and subject whilst relatable. Engaging our attention to ourselves as the viewer, connecting visually and emotionally. Encouraged by the openness to Barth’s practices, further test shoots will explore simliar aspects. Hindering grain, reflecting adosdence through a clouded eye.

[no title] 1995-7 by Uta Barth born 1958