‘No Place Like Home takes as its starting point a subject of increasing concern and tension in the 21st century, affecting all aspects of society and identity. Twenty-three acclaimed artists cast multiple threads of inquiry to consider the idea of Home for this exhibition.

When we think of home do we think of planet earth or something on a smaller scale; the shelter we find to sleep or the relationships that hold us together? Across the UK, homes are less affordable now than they have been at any time in housing history. The context for this show is the Channel Island of Jersey where rents and mortgages can reach an eye-watering 90% of income. We may all yearn for a home but this basic need is charged with political, social and economic realities; borders shift, relationships fracture, rules change, and forced migrations impact on the incredibly fragile thing that we call Home. Home can be a sanctuary or a place of danger, it might be stable or temporary, intimate or shared, rooted for generations or a refuge in times of need. Home might be a person, a community to which we belong or contested land that is no longer available to us, homes are full of histories, meanings and tensions; subject to external forces and internal dramas

No Place Like Home delves into personal stories, global issues, childhood memories, and speculative worlds as well as the bleak realities of the current housing market. Addressing raw and painful topics such as war, migration, violence, love and loss, these artists do not shy away from difficult issues, but rather tackle them with inventiveness, honesty and hope.

The exhibition features newly commissioned artworks by Rachel Ara (Jersey), Sasha Bowles (UK), Ana vorovié (Bosnia/UK), Justin Hibbs (UK), Daria Koltsova (Ukraine/UK), Will Romeril (Jersey), Lindsay Rutter (Jersey), and Lisa Traxler (Isle of Wight/UK) alongside existing artworks work by artists including: Jananne Al-Ani (Iraq/UK), Jackie Berridge (UK), George Bolster (Ire/USA), Peter Jones (UK), Peter Liversidge (UK), Harriet Mena Hill (UK), Kate Murdoch (UK), Ravelle Pillay (South Africa), Saba Qizilbash (Pakistan/UAE), Martha Rostler (USA), Judith Tucker (UK), Joanna Whittle (UK), Eddie Wong (Malaysia/NZ) and Andrea V Wright (UK).

No Place Like Home also extends beyond the gallery to include Luke Jerram’s Floating Earth, an ode to the precious planet we live on and the fragility of water sited at Queen’s Valley Reservoir.

Rachel Ara’s Dissent Module, an otherworldly happening that leaves its debris by the roadside and in our minds, and Lisa Traxler’s sculpture Ghost Echo, sited at the entrance to Jersey War Tunnels that draws upon occupation history, bunker structures and early warning radar systems.

Within the gallery Justin Hibbs’ For the Attention of the Homeowner takes the form of a living room in which visitors are invited to assume a temporary residence in a space curated by the artist and, as homeowners, visitors can open mail, play records, read books and curate their own ‘shelfies’.

No Place Like Home is curated by Rosalind Davis and Laura Hudson and presented by Arthouse Jersey.’

– Art House Jersey

Harriet Mena Hill, UK Aylesbury

Estate Fragments

Acrylic on salvaged demolition concrete, 2020

Since 2018 Hills’ work has been focused on the Aylesbury Estate in South East London investigating how community identity is affected and reframed by the process of redevelopment and gentrification.

The Aylesbury Fragments are an extraordinary act of preservation, rendering scenes of her local architecture directly onto pieces of salvaged material from the Aylesbury Estate, which is being demolished as part of a regeneration program.

The Aylesbury Estate was designed by the architect Hans Peter Trenton and was considered exemplary social housing designed to meet the needs of the people who lived there. The building’s construction began in 1963 and housed approximately 10,000 people. It is now in the final phase of being demolished in order to make way for redevelopment and Hill has spent several years documenting this place as it disappears piece by piece, and at each stage of degradation; as tenants are moved out and those in desperate need are temporarily housed. The concrete is imbued with the contentious history of the site, what remains are fragments of people’s lives.

Martha Rosler, USA – Semiotics of the Kitchen

Video, Performance, RT 6. 15 minutes, 1975

In this performance based work, a static camera is focused on a woman in a kitchen. Rosier adopts the form of a parodic cooking demonstration in which, as Rosier states, “An anti Julia Child replaces the domesticated meaning of tools with a lexicon of rage and frustration.” Made in 1975 this piece is still relevant today, more so perhaps after the experience of lockdown and the burden of domestic work falling mainly to women. We have made major improvements to equality in, law, education, and the workplace but not so much in the Horne.

Ravelle Pillay, SA – Empty Rooms

Two colour lithograph on paper, 30 x 43.5cm, 2023

South African painter Ravelle Pillay uses lithography to document ancestral homes on both sides of her family that are imbued with histories of colonialism and the complex individual stories that shape them.

Empty rooms is a study of two buildings, superimposed on alien landscapes. The sites are related to Pillay’s own history, the first being of her family home built by her maternal great-grandfather in Durban, South Africa informally referred to as ‘the castle’, which was repossessed by the Apartheid government, and which now stands derelict. The second site is the ancestral home of her great-great-grandfather, Lilford Hall in Northamptonshire, England.

Each site, irrespective of their geographical distance, features heavily in the mythologised family histories Pillay grew up listening to.

Rachel Ara, Jersey – Seeking Comfort in an Uncomfortable Housing Market

Digital print on paper, 107×62cm, 2022

In 2021 the artist returned home to Jersey after 3 decades in London, primarily to keep an eye on her parents. Whilst looking for a home and studio, Ara was shocked by the unaffordable rents and chronic housing crisis forcing Jersey workers into cramped and difficult living conditions. This “performance” was her response. With no access to a studio and her tools in storage, Ara made this work with materials to hand; a large cardboard box, some household paint, gaffer tape and a smartphone to record her struggles fitting into a makeshift house unsuitably small for her body.

The format references Bruno Munari’s 1944 classic poster, “Seeking Comfort in an uncomfortable chair” which was a humorous provocation to the design establishment. 80 years later Aras’ work is a provocation to the state of the housing market.

Munari’s title is in both Italian and English, as Aras’ is in English and Portuguese, the second most widely spoken language in Jersey by a community who are disproportionately affected by substandard accommodation.

What is Still Image Film?

Still image film, also known as slide film or photo film, is a unique medium that captures images on individual frames. Unlike traditional motion picture film, which records moving images, still image film consists of a series of individual photographs. Each frame is a single image, frozen in time. Photographers and artists have used still image film for various purposes, including photography, presentations, and artistic projects. One of the distinct advantages of still image film is its ability to create visually stunning and impactful images. The process of shooting on film, with its rich colors, fine details, and unique tonal range, offers a different aesthetic compared to digital photography. The use of still image film allows photographers to carefully compose their shots, as they have limited frames to work with. Each photograph becomes a deliberate choice, capturing a specific moment or subject. This process encourages photographers to be intentional and thoughtful in their approach, resulting in images that are often more considered and meaningful. Artists have also utilized still image film as a medium for their creative expression. By manipulating and arranging individual frames, they can tell stories, explore themes, and evoke emotions. The sequential nature of the still images can create a sense of narrative and progression, similar to a comic strip or storyboard. When analysing still image films, it’s important to consider the cultural and historical contexts in which they were created. Each photograph reflects the prevailing attitudes, values, and aesthetics of its time. By examining the visual elements, composition, and subject matter, we can gain insights into the cultural and historical influences that shaped representations of masculinity, gender dynamics, and power structures.

Examples

City of Gold (1957)

Very Nice, Very Nice (1961)

La Jetée (1962)

Focus and Depth of Field

 The focus is used to direct and prioritise elements in a shot and therefore prioritise certain information. For example, it will determine who the audience should look at (even if we are not listening to them). It may switch our focus (known technically as a pull focus / rack focus / follow focus) between one element and another. Elements may not be people, but could be objects, spaces, shapes or colours, which may represent an idea, theme, belief.

Shot sizes, angles and movements

• High angle / Low angle / bulls-eye / birds eye / canted angle
• Tracking / Panning / Craning / Tilting / Hand held / Steadicam
• Establishing Shot / Long Shot / Medium Shot / Close-up / Big Close-Up / Extreme Close Up 
• Insert Shot

Continuity editing

Continuity editing can be seen as the opposite of montage editing as the main aim is to create a sense of realism or ‘believability’ known as verisimilitude and has it’s own structure of rules where shots are edited together at particular times or on particular shots. For example:

• match on action
• eye-line match
• graphic match
• sound bridge
• 30′ rule
• 180′ rule

Mise en scene

Mise en scene plays a huge role in communicating the tone of a story – but what is mise en scene? In classical terms, mise en scene is the arrangement of scenery and stage properties in a play or film. Today, mise en scene is regarded as all of the elements that go into any single shot of a production.

Sound

Moving image depends on sound for much of its’ meaning. It is impossible to overstate how important a role audio plays in the film viewing experience. While it’s perfectly natural to be drawn to the visual side of film making, those striking visuals don’t hold the same weight without strong cinematic sound design to back them up. Whereas a painting is purely visual and a song can be purely aural, cinema combines sight and sound for a unified experience where one bolsters and elevates the other. 

What is sound design?

Sound design is how filmmakers flesh out the aural world of a film to enhance the mood, atmosphere, and/or tone. Sound design components include sound effects or SFX sound design, mixing, Foley sound design, dialogue, and music. Sound design is the final and most important element needed to create an immersive experience for the audience.

Who is Chris Marker?

Chris Marker was a renowned French filmmaker, writer, and multimedia artist. He is known for his innovative and thought-provoking works, which often explored themes of memory, time, and political and social commentary. Marker’s films, such as “La Jetée” and “Sans Soleil,” pushed the boundaries of traditional filmmaking and incorporated elements of documentary, fiction, and experimental techniques. His use of voiceover narration, montage, and found footage created a unique cinematic language that captivated audiences. Marker’s contributions to the art world continue to inspire and challenge audiences to question the nature of reality and the power of images.  Chris Marker is seen as influential due to his ground-breaking approach to filmmaking and his ability to explore complex themes in a thought-provoking manner. His innovative use of storytelling techniques, such as blending documentary and fiction, and his exploration of memory and time have had a profound impact on the art of filmmaking. Marker’s works have inspired and influenced countless filmmakers, artists, and scholars, shaping the way we think about and engage with cinema as a powerful medium for social and political commentary. 

La Jetée

“La Jetée” is a renowned short film directed by Chris Marker. Released in 1962, it is composed almost entirely of still photographs, which creates a unique and mesmerizing visual style. Through its haunting imagery and poetic narration, “La Jetée” explores themes of memory, love, and the fragility of human existence. It has had a profound influence on experimental filmmaking and remains a captivating and thought-provoking cinematic experience. It tells of a post-nuclear was experiment in time travel by using a series of filmed photographs developed as a photomontage of varying pace, with limited narration and sound effects. In the film, a survivor of a futuristic third World War is obsessed with distant and disconnected memories of a pier at the Orly Airport, the image of a mysterious woman, and a man’s death. Scientists experimenting in time travel choose him for their studies, and the man travels back in time to contact the mysterious woman, and discovers that the man’s death at the Orly Airport was his own. Except for one shot of the woman mentioned above sleeping and suddenly waking up, the film is composed entirely of photographs by Jean Chiabaud and stars Davos Hanich as the man, Hélène Châtelain as the woman and filmmaker William Klein as a man from the future.

What is a Narrative?

A narrative is a storytelling technique wherein characters describe the events of a story, experience, or details from their point of view. The term can be used as a noun or an adjective. As a noun, narrative refers to the story being told. It is the account of events, experiences, and details. It also refers to the story-telling process. 

How will I tell my story?

I am going to produce a zine documenting the unique characters of St Malo. My story will consist of a series of images presenting the faces and surroundings of St Malo from the point of view of a tourist, each image is captioned by a singular French word relating to the photograph adjacent. The front and back cover will contain a black image adding to the minimalistic style I’m aiming for, the front cover reads ‘Vissages de Saint-Malo’ translating to ‘Faces of Saint Malo’.

3 WORDS:

Faces of St Malo

A SENTENCE:

A photography student explores the unique characters of St Malo

A PARAGRAPH

Photography students had the incredible opportunity to explore the diverse range of people that make up the vibrant city of St Malo. By capturing the unique individuals and their stories, the students delved into the cultural and historical contexts that shape their identities. Showcasing the rich tapestry of humanity, highlighting the agency and individuality contained within each person they encountered.

What is a zine?

A zine is a small-circulation self-published work of original or appropriated texts and images, usually reproduced via a copy machine. Zines are the product of either a single person or of a very small group, and are popularly photocopied into physical prints for circulation. A good photo zine captures the essence of its subject matter through visually compelling and thought provoking images. It should tell a story or evoke emotions through it’s photography.

Mood Board

I have produced a mood board to refer to for the design and layout of my zine. I am going for a more minimalistic style as I feel it compliments the tone and framing of the images. Whilst focusing on the simplicity and cleanliness of the design, allowing the content to stand out, creating a sense of sophistication.

Design and Layout

The layout and sizing of my zine are:

Width: 148mm
Height: 210
Pages: 14
Orientation: portrait
Columns: 2
Column gutter: 5mm
Margins: top, bottom, inside, outside: 10mm
Bleed: top, bottom, inside, outside: 3mm

Final presentation

Elizabeth castle is located in St Helier, Jersey. The castle was built in 1601, making it 422 years old and for 400 years this contained a priory, and for the last 350 years a castle. It is accessible only on low tide by foot, if the tide is high, you have to get a boat over. Construction of the castle began in 1594, and continued in the first years of the 17th century under the then governor of Jersey, Sir Walter Raleigh, who named it “Fort Isabella Bellissima” (the most beautiful Elizabeth) after Elizabeth 1st.

Today, the castle is administered by the Jersey Heritage Trust as a museum site: among the historical displays are the Jersey Royal Militia Museum holding several centuries of military memorabilia. Every Sunday through the season when the castle is open, a team of historical interpreters recreate the garrison of 1781, at the time of the battle of Jersey. Displays are given of musket firing, cannon firing and civilian life.

Photo archive

Occupation

The Occupation of Jersey by German Forces during the Second World War commenced on the 1 July 1940. The Occupation was to last for nearly five years and eventually ended on the 9 May 1945 – Liberation Day.

Following the defeat of France, Winston Churchill reluctantly made the decision that British troops be withdrawn from the Channel Islands and redeployed. This left the five islands completely demilitarised. Around 25,000 occupants were evacuated to Britain. Almost all of Alderney’s residents were evacuated, along with around half the population of Guernsey and a fifth of the people from Jersey. The United Kingdom government provided ships to evacuate women, children and men who wished to join the forces when it seemed that Occupation was inevitable.

Britain suppressed the news that the islands had been demilitarised, so when Germany attacked it did so with bombings, killing 44 islanders on Jersey and Guernsey. The Nazis occupied four islands – Jersey, Guernsey, Alderney and Sark. It was the only British territory to be occupied. They would remain there until the end of the War in Europe in May 1945.

Hitler believed the Channel Islands might be a ‘stepping stone’ from which to invade Britain. They were also a useful propaganda tool – to show that the Nazis occupied British land.

German Military

The military consisted of varying numbers of troops, around 25,000 in October 1944, with an additional 15,000 Organisation Todt (OT) workers once fortification of the islands began in October 1941.

Gun Emplacements

To counter any attempted Allied assault, beaches were mined in vulnerable landing spots, anti-tank
walls of steel and concrete were built, large clifftop guns put in place, camouflaged gun emplacements installed, the walls of Elizabeth and Gorey castles reinforced, steel spikes planted in
fields where aircraft might land and a radar station established at Les Landes. In order to ferry the
vast amounts of concrete needed, a railway network was created to link with the Ronez quarries on
the north coast.

Synopsis

This short film will consist of images produced at various artillery sites around the island. A voiceover of an elderly man will accompany the still images, starting at Elizabeth Castle and expanding to multiple heritage sites. Images sourced from the Jersey Archive will be compared to newer images photographed by us. The new images will consist of differing angles of the heritage sites/artillery emplacements (aerial views).

Archive Images for Comparison

Corbiere

Noirmont/Portelet

St Ouens

Hypothesis:Photography and Truth: Can a photograph lie?

This famous quote about photography and truth is by American photographer Walker Evans, who said, “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.” This quote suggests that photography can be a way to capture the truth of a moment or a situation, by observing and documenting it in a way that is honest and authentic.

Photography was seen as a threat to traditional art forms as it was considered to be a mechanical and automated process that did not require the same level of skill and creativity as painting or drawing. Some artists and critics felt that photography lacked the human touch and artistic vision that was necessary to create truly great works of art. However, over time, photography has become widely recognized as a legitimate and important art form in its own right, with many photographers producing work that is highly regarded for its creativity, technical skill, and emotional impact.

Photography is an illusion because it creates an image that appears to be a direct representation of reality, but in fact, it is a highly mediated and selective version of reality. The camera lens, lighting, composition, and other factors all influence the way that a photograph looks, and the photographer’s choices about what to include or exclude from the frame can shape the viewer’s perception of the subject. Additionally, photographs can be manipulated through editing software or other means to create images that are completely different from the original scene. Therefore, while photography can capture real moments and events, it is always an interpretation of reality rather than a pure and objective representation.

AI, or artificial intelligence, is a new technology that has become increasingly important in our daily lives. AI refers to the ability of machines to perform tasks that would normally require human intelligence, such as learning, problem-solving, and decision-making. AI is already part of our lives in many ways, from the virtual assistants on our smartphones to the recommendation algorithms used by social media platforms and online retailers. AI is also used in industries such as healthcare, finance, and transportation to improve efficiency and accuracy. For example, AI is used in medical imaging to help doctors diagnose diseases, and in self-driving cars to help them navigate safely on the road. AI is also used in customer service to provide fast and personalized responses to customers. In short, AI is a powerful technology that is already changing the way we live and work.

However, there are also potential dangers associated with AI. One of the main concerns is that AI could lead to job displacement, as machines become more capable of performing tasks that were previously done by humans. This could lead to economic inequality and social unrest. Another concern is that AI could be used to create autonomous weapons, which could pose a threat to global security.

Photography in the past could be manipulated in many ways. One of the most common methods was to physically alter the image, either by painting over it or by cutting and pasting different parts of different images together. Another method was to use different lenses or filters to create a distorted or surreal effect. Additionally, photographers could use different lighting techniques to create a certain mood or atmosphere in the image. Finally, photographers could manipulate the subject of the photograph itself, either by posing them in a certain way or by using makeup or costumes to create a certain look. Overall, there were many ways that photographers could manipulate images in the past, although the technology available was much more limited than it is today.

One example of an image from the past where the truth was distorted is the photograph of the “Loch Ness Monster” that was taken in 1934 by a man named Robert Wilson. The photograph shows a large creature with a long neck and humps emerging from the water of Loch Ness in Scotland. However, it was later revealed that the photograph was a hoax, and that the “monster” was actually a model made from a toy submarine covered in a rubber and plastic material. The photograph became famous and helped to perpetuate the myth of the Loch Ness Monster, despite the fact that it was not a real creature. This is an example of how photography can be used to distort the truth and create a false narrative.

The image above is an Ai edited image of Donald Trump working in a fast food restaurant by Phillip Toledano. Toledano created this image using an Ai generated app, Midjourney. He believes that a photograph should be like an unfinished sentence. When creating these images Phillip Toledano focused on how Donald Trump portrays himself and generated the images to do the opposite. Trump has an obsession with showing off his his power and projecting his strength, however, the series of images which were made makes him look weak, and are degrading. This series of Donald Trump that Toledano created has no relation ship with either photography or the truth. However, it shows the creativity and skill that comes behind editing and the power that is held within Artificial intelligence.