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Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Unseen Country — Dominic Whisson

Unseen Country trace the architecture of Britain’s military industrial landscape. Between October 2023 and late 2025, the UK Government approved 199 military or dual use export licences for products including grenade launchers, unmanned air vehicles and components for electronic warfare.

The project began as an attempt to locate and visualise abstract statistics, translating fragmented bureaucratic records into physical space. Travelling across the country, Whisson photographed sites connected to these approvals, from factories and facades to anonymous industrial estates and the landscapes they impose upon. By pairing photographs with open source data, the work reveals how infrastructures of global conflict are embedded within the fabric of the nation.

Positioned between documentary and research practice, the project uses publicly available export licence data to analyse, map and make visible the systems supporting the international arms trade. Through linking data with location, Unseen Country exposes a geography of moral distance, revealing how violence is embedded within everyday environments.

Part evidence and part testimony, the work examines photography’s ability to confront state secrecy and interrogate the systems of power it has historically helped to construct.

@dominicwhisson

Quotidian — Imogen Glanville

Quotidian explores how sexual violence permeates everyday spaces and how silence persists in both public and private life. Drawing on police reports, news articles and personal testimonies, the work situates the artist within these ordinary yet charged locations, creating self portraits that confront harm and its lingering effects.

Combining still images with recorded audio testimonies, the project invites viewers to look and listen, fostering reflection on visibility, solidarity and the politics of occupying spaces marked by trauma.

Quotidian considers how violence shapes our environments and asks how we might bear witness to it.

@imogenglanville

Quotidian — Imogen Glanville

Quotidian explores how sexual violence permeates everyday spaces and how silence persists in both public and private life. Drawing on police reports, news articles and personal testimonies, the work situates the artist within these ordinary yet charged locations, creating self portraits that confront harm and its lingering effects.

Combining still images with recorded audio testimonies, the project invites viewers to look and listen, fostering reflection on visibility, solidarity and the politics of occupying spaces marked by trauma.

Quotidian considers how violence shapes our environments and asks how we might bear witness to it.

@imogenglanville

Quotidian — Imogen Glanville

Quotidian explores how sexual violence permeates everyday spaces and how silence persists in both public and private life. Drawing on police reports, news articles and personal testimonies, the work situates the artist within these ordinary yet charged locations, creating self portraits that confront harm and its lingering effects.

Combining still images with recorded audio testimonies, the project invites viewers to look and listen, fostering reflection on visibility, solidarity and the politics of occupying spaces marked by trauma.

Quotidian considers how violence shapes our environments and asks how we might bear witness to it.

@imogenglanville

Quotidian — Imogen Glanville

Quotidian explores how sexual violence permeates everyday spaces and how silence persists in both public and private life. Drawing on police reports, news articles and personal testimonies, the work situates the artist within these ordinary yet charged locations, creating self portraits that confront harm and its lingering effects.

Combining still images with recorded audio testimonies, the project invites viewers to look and listen, fostering reflection on visibility, solidarity and the politics of occupying spaces marked by trauma.

Quotidian considers how violence shapes our environments and asks how we might bear witness to it.

@imogenglanville

Quotidian — Imogen Glanville

Quotidian explores how sexual violence permeates everyday spaces and how silence persists in both public and private life. Drawing on police reports, news articles and personal testimonies, the work situates the artist within these ordinary yet charged locations, creating self portraits that confront harm and its lingering effects.

Combining still images with recorded audio testimonies, the project invites viewers to look and listen, fostering reflection on visibility, solidarity and the politics of occupying spaces marked by trauma.

Quotidian considers how violence shapes our environments and asks how we might bear witness to it.

@imogenglanville

Quotidian — Imogen Glanville

Quotidian explores how sexual violence permeates everyday spaces and how silence persists in both public and private life. Drawing on police reports, news articles and personal testimonies, the work situates the artist within these ordinary yet charged locations, creating self portraits that confront harm and its lingering effects.

Combining still images with recorded audio testimonies, the project invites viewers to look and listen, fostering reflection on visibility, solidarity and the politics of occupying spaces marked by trauma.

Quotidian considers how violence shapes our environments and asks how we might bear witness to it.

@imogenglanville

The Dangers of Live Facial Recognition — Rakesh Jaitly

Police are now scanning faces in real time, treating the public as suspects and operating on an assumption of guilt. The technology has been widely criticised as biased and unreliable and has previously been ruled unlawful, yet permanently installed live facial recognition cameras continue to be introduced. Croydon has become one of the first testing grounds, prompting protest from local communities.

Each participant was given a blank mask and invited to express themselves, revealing the identity behind the mask worn in refusal of live facial recognition.

The work highlights how this technology has been deployed at Carnival, at protests and within communities of colour, yet not at far right rallies against immigration. Cases of misidentification have led to detention and harassment following algorithmic error.

Through portraiture and protest, the project questions the normalisation of surveillance and examines its implications for privacy, civil liberties and public safety.

@wayward_photo

The Dangers of Live Facial Recognition — Rakesh Jaitly

Police are now scanning faces in real time, treating the public as suspects and operating on an assumption of guilt. The technology has been widely criticised as biased and unreliable and has previously been ruled unlawful, yet permanently installed live facial recognition cameras continue to be introduced. Croydon has become one of the first testing grounds, prompting protest from local communities.

Each participant was given a blank mask and invited to express themselves, revealing the identity behind the mask worn in refusal of live facial recognition.

The work highlights how this technology has been deployed at Carnival, at protests and within communities of colour, yet not at far right rallies against immigration. Cases of misidentification have led to detention and harassment following algorithmic error.

Through portraiture and protest, the project questions the normalisation of surveillance and examines its implications for privacy, civil liberties and public safety.

@wayward_photo

The Dangers of Live Facial Recognition — Rakesh Jaitly

Police are now scanning faces in real time, treating the public as suspects and operating on an assumption of guilt. The technology has been widely criticised as biased and unreliable and has previously been ruled unlawful, yet permanently installed live facial recognition cameras continue to be introduced. Croydon has become one of the first testing grounds, prompting protest from local communities.

Each participant was given a blank mask and invited to express themselves, revealing the identity behind the mask worn in refusal of live facial recognition.

The work highlights how this technology has been deployed at Carnival, at protests and within communities of colour, yet not at far right rallies against immigration. Cases of misidentification have led to detention and harassment following algorithmic error.

Through portraiture and protest, the project questions the normalisation of surveillance and examines its implications for privacy, civil liberties and public safety.

@wayward_photo

The Dangers of Live Facial Recognition — Rakesh Jaitly

Police are now scanning faces in real time, treating the public as suspects and operating on an assumption of guilt. The technology has been widely criticised as biased and unreliable and has previously been ruled unlawful, yet permanently installed live facial recognition cameras continue to be introduced. Croydon has become one of the first testing grounds, prompting protest from local communities.

Each participant was given a blank mask and invited to express themselves, revealing the identity behind the mask worn in refusal of live facial recognition.

The work highlights how this technology has been deployed at Carnival, at protests and within communities of colour, yet not at far right rallies against immigration. Cases of misidentification have led to detention and harassment following algorithmic error.

Through portraiture and protest, the project questions the normalisation of surveillance and examines its implications for privacy, civil liberties and public safety.

@wayward_photo

The Dangers of Live Facial Recognition — Rakesh Jaitly

Police are now scanning faces in real time, treating the public as suspects and operating on an assumption of guilt. The technology has been widely criticised as biased and unreliable and has previously been ruled unlawful, yet permanently installed live facial recognition cameras continue to be introduced. Croydon has become one of the first testing grounds, prompting protest from local communities.

Each participant was given a blank mask and invited to express themselves, revealing the identity behind the mask worn in refusal of live facial recognition.

The work highlights how this technology has been deployed at Carnival, at protests and within communities of colour, yet not at far right rallies against immigration. Cases of misidentification have led to detention and harassment following algorithmic error.

Through portraiture and protest, the project questions the normalisation of surveillance and examines its implications for privacy, civil liberties and public safety.

@wayward_photo

Chromatic Topographics — Moh Mandhyan

Chromatic Topographics explores how the colours red, green and blue shape our understanding of urban space, focusing on boroughs in South East London.

Raised in India, where colour is integral to the landscape, Moh perceives South East London’s architecture as grey, industrial and ordered. Within this man altered, concrete heavy, brutalist environment, he begins to notice red, green and blue highlights, gradually reshaping his view of the city.

Using RGB, the digital foundation of the camera, the work investigates colour as emotion. Through a frontal approach, Moh photographs ordinary, industrial and often overlooked spaces, transforming banal corners into places of rhythm, colour and meaning.

@mxh.in

Chromatic Topographics — Moh Mandhyan

Chromatic Topographics explores how the colours red, green and blue shape our understanding of urban space, focusing on boroughs in South East London.

Raised in India, where colour is integral to the landscape, Moh perceives South East London’s architecture as grey, industrial and ordered. Within this man altered, concrete heavy, brutalist environment, he begins to notice red, green and blue highlights, gradually reshaping his view of the city.

Using RGB, the digital foundation of the camera, the work investigates colour as emotion. Through a frontal approach, Moh photographs ordinary, industrial and often overlooked spaces, transforming banal corners into places of rhythm, colour and meaning.

@mxh.in

Chromatic Topographics — Moh Mandhyan

Chromatic Topographics explores how the colours red, green and blue shape our understanding of urban space, focusing on boroughs in South East London.

Raised in India, where colour is integral to the landscape, Moh perceives South East London’s architecture as grey, industrial and ordered. Within this man altered, concrete heavy, brutalist environment, he begins to notice red, green and blue highlights, gradually reshaping his view of the city.

Using RGB, the digital foundation of the camera, the work investigates colour as emotion. Through a frontal approach, Moh photographs ordinary, industrial and often overlooked spaces, transforming banal corners into places of rhythm, colour and meaning.

@mxh.in

Chromatic Topographics — Moh Mandhyan

Chromatic Topographics explores how the colours red, green and blue shape our understanding of urban space, focusing on boroughs in South East London.

Raised in India, where colour is integral to the landscape, Moh perceives South East London’s architecture as grey, industrial and ordered. Within this man altered, concrete heavy, brutalist environment, he begins to notice red, green and blue highlights, gradually reshaping his view of the city.

Using RGB, the digital foundation of the camera, the work investigates colour as emotion. Through a frontal approach, Moh photographs ordinary, industrial and often overlooked spaces, transforming banal corners into places of rhythm, colour and meaning.

@mxh.in

Chromatic Topographics — Moh Mandhyan

Chromatic Topographics explores how the colours red, green and blue shape our understanding of urban space, focusing on boroughs in South East London.

Raised in India, where colour is integral to the landscape, Moh perceives South East London’s architecture as grey, industrial and ordered. Within this man altered, concrete heavy, brutalist environment, he begins to notice red, green and blue highlights, gradually reshaping his view of the city.

Using RGB, the digital foundation of the camera, the work investigates colour as emotion. Through a frontal approach, Moh photographs ordinary, industrial and often overlooked spaces, transforming banal corners into places of rhythm, colour and meaning.

@mxh.in

Chromatic Topographics — Moh Mandhyan

Chromatic Topographics explores how the colours red, green and blue shape our understanding of urban space, focusing on boroughs in South East London.

Raised in India, where colour is integral to the landscape, Moh perceives South East London’s architecture as grey, industrial and ordered. Within this man altered, concrete heavy, brutalist environment, he begins to notice red, green and blue highlights, gradually reshaping his view of the city.

Using RGB, the digital foundation of the camera, the work investigates colour as emotion. Through a frontal approach, Moh photographs ordinary, industrial and often overlooked spaces, transforming banal corners into places of rhythm, colour and meaning.

@mxh.in

Chromatic Topographics — Moh Mandhyan

Chromatic Topographics explores how the colours red, green and blue shape our understanding of urban space, focusing on boroughs in South East London.

Raised in India, where colour is integral to the landscape, Moh perceives South East London’s architecture as grey, industrial and ordered. Within this man altered, concrete heavy, brutalist environment, he begins to notice red, green and blue highlights, gradually reshaping his view of the city.

Using RGB, the digital foundation of the camera, the work investigates colour as emotion. Through a frontal approach, Moh photographs ordinary, industrial and often overlooked spaces, transforming banal corners into places of rhythm, colour and meaning.

@mxh.in

Chromatic Topographics — Moh Mandhyan

Chromatic Topographics explores how the colours red, green and blue shape our understanding of urban space, focusing on boroughs in South East London.

Raised in India, where colour is integral to the landscape, Moh perceives South East London’s architecture as grey, industrial and ordered. Within this man altered, concrete heavy, brutalist environment, he begins to notice red, green and blue highlights, gradually reshaping his view of the city.

Using RGB, the digital foundation of the camera, the work investigates colour as emotion. Through a frontal approach, Moh photographs ordinary, industrial and often overlooked spaces, transforming banal corners into places of rhythm, colour and meaning.

@mxh.in

Germination — Julian Wiltshire

Germination explores the revolutionary philosophy and practice of artist and painter Hanns Kralik, whose work was shaped by a decade of revolution and counter revolution in postwar Germany.

The project documents the sites and landscapes of Kralik’s revolutionary activity, from the Red Ruhr in 1923 to the Emsland moors and trial concentration camps a decade later. These landscapes, once sites of struggle, labour and repression, are presented as spaces where history remains embedded in the ground itself.

Drawing on Kralik’s dialectical materialism, the work considers how seemingly fixed and immobile landscapes become dynamic when viewed through historical and political context. The remnants of camps and factories serve as haunted markers of insurrection, defeat and endurance, reflecting Kralik’s belief that class struggle remains unfinished and that revolution, despite everything, continues to germinate.

@julian__1848

Germination — Julian Wiltshire

Germination explores the revolutionary philosophy and practice of artist and painter Hanns Kralik, whose work was shaped by a decade of revolution and counter revolution in postwar Germany.

The project documents the sites and landscapes of Kralik’s revolutionary activity, from the Red Ruhr in 1923 to the Emsland moors and trial concentration camps a decade later. These landscapes, once sites of struggle, labour and repression, are presented as spaces where history remains embedded in the ground itself.

Drawing on Kralik’s dialectical materialism, the work considers how seemingly fixed and immobile landscapes become dynamic when viewed through historical and political context. The remnants of camps and factories serve as haunted markers of insurrection, defeat and endurance, reflecting Kralik’s belief that class struggle remains unfinished and that revolution, despite everything, continues to germinate.

@julian__1848

Germination — Julian Wiltshire

Germination explores the revolutionary philosophy and practice of artist and painter Hanns Kralik, whose work was shaped by a decade of revolution and counter revolution in postwar Germany.

The project documents the sites and landscapes of Kralik’s revolutionary activity, from the Red Ruhr in 1923 to the Emsland moors and trial concentration camps a decade later. These landscapes, once sites of struggle, labour and repression, are presented as spaces where history remains embedded in the ground itself.

Drawing on Kralik’s dialectical materialism, the work considers how seemingly fixed and immobile landscapes become dynamic when viewed through historical and political context. The remnants of camps and factories serve as haunted markers of insurrection, defeat and endurance, reflecting Kralik’s belief that class struggle remains unfinished and that revolution, despite everything, continues to germinate.

@julian__1848

Germination — Julian Wiltshire

Germination explores the revolutionary philosophy and practice of artist and painter Hanns Kralik, whose work was shaped by a decade of revolution and counter revolution in postwar Germany.

The project documents the sites and landscapes of Kralik’s revolutionary activity, from the Red Ruhr in 1923 to the Emsland moors and trial concentration camps a decade later. These landscapes, once sites of struggle, labour and repression, are presented as spaces where history remains embedded in the ground itself.

Drawing on Kralik’s dialectical materialism, the work considers how seemingly fixed and immobile landscapes become dynamic when viewed through historical and political context. The remnants of camps and factories serve as haunted markers of insurrection, defeat and endurance, reflecting Kralik’s belief that class struggle remains unfinished and that revolution, despite everything, continues to germinate.

@julian__1848

Kulam — Deepthi Muralibabu

Kulam challenges the idea of liberation as something visible or absolute. Through the women in the artist’s family, the work reflects on space, gender and memory, exploring how returning home becomes a way of remembering who we are.

Each year, her grandmother and four daughters return to their ancestral village for her grandfather’s death anniversary, creating moments that belong only to them. Within these rituals, they carve out space for themselves through gestures of care, laughter and remembrance. Kulam becomes both a homecoming and an act of quiet resistance.

The project began as a way of looking and has become a way of remembering, a promise to give back what was given.

@deepthimuralibabu

Kulam — Deepthi Muralibabu

Kulam challenges the idea of liberation as something visible or absolute. Through the women in the artist’s family, the work reflects on space, gender and memory, exploring how returning home becomes a way of remembering who we are.

Each year, her grandmother and four daughters return to their ancestral village for her grandfather’s death anniversary, creating moments that belong only to them. Within these rituals, they carve out space for themselves through gestures of care, laughter and remembrance. Kulam becomes both a homecoming and an act of quiet resistance.

The project began as a way of looking and has become a way of remembering, a promise to give back what was given.

@deepthimuralibabu

Kulam — Deepthi Muralibabu

Kulam challenges the idea of liberation as something visible or absolute. Through the women in the artist’s family, the work reflects on space, gender and memory, exploring how returning home becomes a way of remembering who we are.

Each year, her grandmother and four daughters return to their ancestral village for her grandfather’s death anniversary, creating moments that belong only to them. Within these rituals, they carve out space for themselves through gestures of care, laughter and remembrance. Kulam becomes both a homecoming and an act of quiet resistance.

The project began as a way of looking and has become a way of remembering, a promise to give back what was given.

@deepthimuralibabu

Bookends — Geoffrey Davies

Now exactly the same age as his father was when he died, the lyric “How terribly strange to be seventy” holds new meaning for the artist. Inspired by Paul Simon’s song Bookends, the work navigates ageing, friendship and family through conversations between Geoffrey and his oldest friend, and between his brothers, echoing the line “sat on a park bench”.

Spanning video, a photo book and installation, Bookends serves as a biography of his father and his family for the grandchildren he never knew. The work invites viewers to sit, reflect and share the experience with an old friend.

@geoff31a

Bookends — Geoffrey Davies

Now exactly the same age as his father was when he died, the lyric “How terribly strange to be seventy” holds new meaning for the artist. Inspired by Paul Simon’s song Bookends, the work navigates ageing, friendship and family through conversations between Geoffrey and his oldest friend, and between his brothers, echoing the line “sat on a park bench”.

Spanning video, a photo book and installation, Bookends serves as a biography of his father and his family for the grandchildren he never knew. The work invites viewers to sit, reflect and share the experience with an old friend.

@geoff31a

Bookends — Geoffrey Davies

Now exactly the same age as his father was when he died, the lyric “How terribly strange to be seventy” holds new meaning for the artist. Inspired by Paul Simon’s song Bookends, the work navigates ageing, friendship and family through conversations between Geoffrey and his oldest friend, and between his brothers, echoing the line “sat on a park bench”.

Spanning video, a photo book and installation, Bookends serves as a biography of his father and his family for the grandchildren he never knew. The work invites viewers to sit, reflect and share the experience with an old friend.

@geoff31a

Time Flows: The Thames — A London Portrait — Alan Larsen

The River Thames has shaped London, both literally and metaphorically, for centuries, with its use and environment evolving to meet the changing needs of the city.

This work documents the south bank of the river from London Bridge to the Thames Barrier, walking and taking photographs at 500 metre intervals. Pairing images of the landscape with images of the river creates a dialogue between contemporary and historical activity.

A portrait emerges of a river and its environment, a product of the past seen from the perspective of the present.

@alanplarsen

Time Flows: The Thames — A London Portrait — Alan Larsen

The River Thames has shaped London, both literally and metaphorically, for centuries, with its use and environment evolving to meet the changing needs of the city.

This work documents the south bank of the river from London Bridge to the Thames Barrier, walking and taking photographs at 500 metre intervals. Pairing images of the landscape with images of the river creates a dialogue between contemporary and historical activity.

A portrait emerges of a river and its environment, a product of the past seen from the perspective of the present.

@alanplarsen

Time Flows: The Thames — A London Portrait — Alan Larsen

The River Thames has shaped London, both literally and metaphorically, for centuries, with its use and environment evolving to meet the changing needs of the city.

This work documents the south bank of the river from London Bridge to the Thames Barrier, walking and taking photographs at 500 metre intervals. Pairing images of the landscape with images of the river creates a dialogue between contemporary and historical activity.

A portrait emerges of a river and its environment, a product of the past seen from the perspective of the present.

@alanplarsen

Time Flows: The Thames — A London Portrait — Alan Larsen

The River Thames has shaped London, both literally and metaphorically, for centuries, with its use and environment evolving to meet the changing needs of the city.

This work documents the south bank of the river from London Bridge to the Thames Barrier, walking and taking photographs at 500 metre intervals. Pairing images of the landscape with images of the river creates a dialogue between contemporary and historical activity.

A portrait emerges of a river and its environment, a product of the past seen from the perspective of the present.

@alanplarsen

Time Flows: The Thames — A London Portrait — Alan Larsen

The River Thames has shaped London, both literally and metaphorically, for centuries, with its use and environment evolving to meet the changing needs of the city.

This work documents the south bank of the river from London Bridge to the Thames Barrier, walking and taking photographs at 500 metre intervals. Pairing images of the landscape with images of the river creates a dialogue between contemporary and historical activity.

A portrait emerges of a river and its environment, a product of the past seen from the perspective of the present.

@alanplarsen

I’m Trying Not to Think About It — Pupat Chenaksara

I’m Trying Not to Think About It is a photography and interview series exploring the mental states of young people living with anxiety, depression and other mental health challenges.

Through quiet conversations, images and self portraits, the project traces how society and capitalism shape emotional life. By participating himself, the artist demonstrates that these experiences are both personal and shared.

The work observes the fragile, restless state of youth and the subtle ways in which steadiness appears.

@pupat.c

I’m Trying Not to Think About It — Pupat Chenaksara

I’m Trying Not to Think About It is a photography and interview series exploring the mental states of young people living with anxiety, depression and other mental health challenges.

Through quiet conversations, images and self portraits, the project traces how society and capitalism shape emotional life. By participating himself, the artist demonstrates that these experiences are both personal and shared.

The work observes the fragile, restless state of youth and the subtle ways in which steadiness appears.

@pupat.c

I’m Trying Not to Think About It — Pupat Chenaksara

I’m Trying Not to Think About It is a photography and interview series exploring the mental states of young people living with anxiety, depression and other mental health challenges.

Through quiet conversations, images and self portraits, the project traces how society and capitalism shape emotional life. By participating himself, the artist demonstrates that these experiences are both personal and shared.

The work observes the fragile, restless state of youth and the subtle ways in which steadiness appears.

@pupat.c

I’m Trying Not to Think About It — Pupat Chenaksara

I’m Trying Not to Think About It is a photography and interview series exploring the mental states of young people living with anxiety, depression and other mental health challenges.

Through quiet conversations, images and self portraits, the project traces how society and capitalism shape emotional life. By participating himself, the artist demonstrates that these experiences are both personal and shared.

The work observes the fragile, restless state of youth and the subtle ways in which steadiness appears.

@pupat.c

I’m Trying Not to Think About It — Pupat Chenaksara

I’m Trying Not to Think About It is a photography and interview series exploring the mental states of young people living with anxiety, depression and other mental health challenges.

Through quiet conversations, images and self portraits, the project traces how society and capitalism shape emotional life. By participating himself, the artist demonstrates that these experiences are both personal and shared.

The work observes the fragile, restless state of youth and the subtle ways in which steadiness appears.

@pupat.c

In the Corner of the Dark Fatherland — Louis Sartori

“There is no such thing as the happiest country in the world.”

In the Corner of the Dark Fatherland explores the psychological landscape of post industrial small town Finland. Among dark woods and scattered towns, memories of darker times linger, shaped by historically high national rates of suicide and alcoholism.

@sartoriorioriori

In the Corner of the Dark Fatherland — Louis Sartori

“There is no such thing as the happiest country in the world.”

In the Corner of the Dark Fatherland explores the psychological landscape of post industrial small town Finland. Among dark woods and scattered towns, memories of darker times linger, shaped by historically high national rates of suicide and alcoholism.

@sartoriorioriori

In the Corner of the Dark Fatherland — Louis Sartori

“There is no such thing as the happiest country in the world.”

In the Corner of the Dark Fatherland explores the psychological landscape of post industrial small town Finland. Among dark woods and scattered towns, memories of darker times linger, shaped by historically high national rates of suicide and alcoholism.

@sartoriorioriori

In the Corner of the Dark Fatherland — Louis Sartori

“There is no such thing as the happiest country in the world.”

In the Corner of the Dark Fatherland explores the psychological landscape of post industrial small town Finland. Among dark woods and scattered towns, memories of darker times linger, shaped by historically high national rates of suicide and alcoholism.

@sartoriorioriori

In the Corner of the Dark Fatherland — Louis Sartori

“There is no such thing as the happiest country in the world.”

In the Corner of the Dark Fatherland explores the psychological landscape of post industrial small town Finland. Among dark woods and scattered towns, memories of darker times linger, shaped by historically high national rates of suicide and alcoholism.

@sartoriorioriori

In the Corner of the Dark Fatherland — Louis Sartori

“There is no such thing as the happiest country in the world.”

In the Corner of the Dark Fatherland explores the psychological landscape of post industrial small town Finland. Among dark woods and scattered towns, memories of darker times linger, shaped by historically high national rates of suicide and alcoholism.

@sartoriorioriori

No Place Like — Lauren Miller

No Place Like documents the artist’s return to the ten houses of her childhood and her encounters with the families who live in them now. Through these visits, Miller explores the uncanniness of reentering spaces she once called home, revealing the tension between memory and absence.

As both guest and ghost, she photographs herself in living rooms with the current occupants and outside the houses, whether or not she was invited in. The series lingers in the unease of the familiar yet distant, asking what it means to become a stranger in your own home, if you can still call it that.

@laurennhhennessy

No Place Like — Lauren Miller

No Place Like documents the artist’s return to the ten houses of her childhood and her encounters with the families who live in them now. Through these visits, Miller explores the uncanniness of reentering spaces she once called home, revealing the tension between memory and absence.

As both guest and ghost, she photographs herself in living rooms with the current occupants and outside the houses, whether or not she was invited in. The series lingers in the unease of the familiar yet distant, asking what it means to become a stranger in your own home, if you can still call it that.

@laurennhhennessy

No Place Like — Lauren Miller

No Place Like documents the artist’s return to the ten houses of her childhood and her encounters with the families who live in them now. Through these visits, Miller explores the uncanniness of reentering spaces she once called home, revealing the tension between memory and absence.

As both guest and ghost, she photographs herself in living rooms with the current occupants and outside the houses, whether or not she was invited in. The series lingers in the unease of the familiar yet distant, asking what it means to become a stranger in your own home, if you can still call it that.

@laurennhhennessy

No Place Like — Lauren Miller

No Place Like documents the artist’s return to the ten houses of her childhood and her encounters with the families who live in them now. Through these visits, Miller explores the uncanniness of reentering spaces she once called home, revealing the tension between memory and absence.

As both guest and ghost, she photographs herself in living rooms with the current occupants and outside the houses, whether or not she was invited in. The series lingers in the unease of the familiar yet distant, asking what it means to become a stranger in your own home, if you can still call it that.

@laurennhhennessy

No Place Like — Lauren Miller

No Place Like documents the artist’s return to the ten houses of her childhood and her encounters with the families who live in them now. Through these visits, Miller explores the uncanniness of reentering spaces she once called home, revealing the tension between memory and absence.

As both guest and ghost, she photographs herself in living rooms with the current occupants and outside the houses, whether or not she was invited in. The series lingers in the unease of the familiar yet distant, asking what it means to become a stranger in your own home, if you can still call it that.

@laurennhhennessy

In the Rough — Kingsley Bishop

An estimated 30% of Sierra Leone’s population is engaged in artisanal diamond mining. In this project, Kingsley Bishop identifies continued patterns of neocolonial extraction within this export focused industry and examines their effects on communities and the environment, exacerbated by unenforced government policies.

Through images captured within the mines, this work sheds light on the human labour behind diamond extraction, revealing the vulnerability of those who work under unregulated conditions and the scale of this practice.

@k.ngsleyb