Tom Pope is the Photographer in residence 2015 at the Jersey Archive. Pope was asked to do a masters in photography in the Royal Academy of Art, after graduating from his first University at Swansea Metropolitan University where he studied Photography in the Arts.

http://www.tompope.co.uk/index.html

http://www.archisle.org.je/tom-pope-appointed-archisle-international-photographer-in-residence-2015/

Pope is an experienced photographer and has won many awards over the years, such as;

2013: Public Arts Grant, Royal Borough of Kensington and Chelsea
Tempting Failure Bursary recipient

2011
Deutsche Bank Award Winner of the £10,000 Bursary
Prix Leica Photography Prize, Finalist
http://www.tompope.co.uk/timebound.html

2010
Photograph of the month, National Portrait Gallery London

2009
Bursary Winner, Royal West of England Academy
Sir Leslie Joseph Young Artist Award, Shortlisted

Below are some of Tom Pope’s recorded performances which are displayed on his official website;
http://www.tompope.co.uk/films.html

As a title of ‘Chance, Challenge, Change’ many ideas came to mind. On our workshop visit to Archisle, Jersey, we were given a talk by Gareth Syvret who’s a photo archivist in the Societe Jersiaise. He influenced me into thinking further when thinking about archiving photographs. Syvret mention that being an archivist allows you to test and question what the definition of art and what it is, as a photo library represents a cannon of personal history and time.  Gareth was particularly influenced by Kessel Kramer where his collection ‘In almost every photograph represents this understanding of history to anticipate the future.  Below are some examples of Kessle’s work.

“Visual History – Knowledge – Power”

Another influence of Gareth’s was William T. Collings, an Artist whom captured many of his photographs in neighboring Channel Islands. This then came relatable for Syvret as much of the photographs archived where found in the Societe Jersiaise. Much of William’s work was captured in the 1860’s all of working class men and woman. Syvret added that this  “Anthropological  representation may be deceiving” as the straight faces in Collings’ photographs can be seen as ‘ambiguous.  Also, plate cameras which where used made the  colour red deficient, resulting the eye to question the photographs profanity and truth. Below is an image William captured during his time shooting in Sark.