Episodios
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In this episode, Gem Fletcher chats to The Museum of Modern Art Photography Curator Roxana Marcoci. Using some of Roxana’s recent and upcoming exhibitions as jump off points, we explore everything from the ethical responsibility of curatorial practice to the evolving relationship between humans and technology. Roxanna talks about who inspires her, how her approach is guided by deep relationships and informed risk, and her rallying cry to all of us to be bolder in our artistic endeavours.
Roxana Marcoci is the David Dechman Senior Curator and Acting Chief Curator of Photography at The Museum of Modern Art. She holds a PhD in art history, theory, and criticism from the Institute of Fine Arts at New York University. She is a recipient of the 2011 Center for Curatorial Leadership Fellowship. Marcoci has chaired the Central and Eastern European group (2013-2023) and is currently the inaugural Chair of the West Asia group of MoMA’s Contemporary and Modern Art Perspectives (C-MAP) program. In 2010 Marcoci co-founded MoMA’s Forums on Contemporary Photography, an experimental platform for free-form critical discussions about the perspectives and scope of image-making among artists, curators, and cultural theorists. Her research engages transnational and diasporic histories of feminist art and new models of solidarity. Marcoci has published over 50 essays on modern and contemporary art and co-authored the three-volume Photography at MoMA (2015/17).
Marcoci has curated numerous exhibitions, including LaToya Ruby Frazier: Monuments of Solidarity (2024); An-My Lê, Between Two Rivers/Giữa hai giòng sông/Entre deux rivières (2023); Wolfgang Tillmans: To look without fear (2022), which traveled to the Art Gallery of
Ontario (2023) and the San Francisco Museum of Modern Art (2024); Our Selves: Photographs by Women Artists from Helen Kornblum (2022); Carrie Mae Weems: From Here I Saw What Happened and I Cried (2020); Louise Lawler: WHY PICTURES NOW (2017); Zoe Leonard:Analogue (2015); From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola (2015); Christopher Williams: The Production Line of Happiness (2014); The Shaping of New Visions: Photography, Film, Photobook (2012); Taryn Simon: A Living Man Declared Dead and Other Chapters I–XVIII (2012); Sanja Iveković: Sweet Violence (2011); Staging Action:Performance in Photography Since 1960 (2011); Pictures by Women: A History of Modern Photography (2010); and The Original Copy: Photography of Sculpture, 1839 to Today (2010).
Follow Roxana on Instagram @roxanamarcoci Follow Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback and maybe five stars if we're worthy in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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In this episode, Gem Fletcher chats to the curator and writer Lou Stoppard about Exteriors, her new exhibition at MEP Paris and a book of the same title published by MACK. The project takes the writing from Annie Ernaux’s Exteriors where Annie endeavoured to ‘describe reality through the eyes of a photographer.” Lou takes this work and asks the question Can you see a text? Can you read a photograph? And pairs Annie’s texts with images from the MEP’s collection to offer viewers a provocation on how to see the world anew. In this conversation, we discuss Lou’s approach to exhibition making, her collaboration with Annie, how she thinks about audience and much more.
Lou has written for The Financial Times, Aperture, The New York Times and The New Yorker. Her books include a survey of the work of street photographer Shirley Baker, published by Mack in 2019, 'Pools', an exploration of swimming in photography, published by Rizzoli in 2020, and Exteriors: Annie Ernaux and Photography, published by Mack in 2024, to time with an exhibition of the same name at MEP, Paris.
Follow Lou on Instagram @loustoppard Follow Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback and maybe five stars if we're worthy in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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¿Faltan episodios?
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In today's minisode, Gem Fletcher speaks to Brea Souders about her latest book Another Online Pervert, which charts her multi-year conversation with a female-programmed chatbot. The book published by Mack, combines excerpts from their conversation with images from her archive. It is highly charged, jumping between the playful and mundane to the dark and ruthless as she unpacks the complex relationship between humans and machines in a provocative publication that invites us to think about the future of our own humanity.
The TMT minisodes are short, focused conversations with photographers on books, exhibitions, and special projects, focusing on not just how these endeavours came into being but also what they bring out in us in terms of growth and reflection.
Follow Brea on Instagram. Follow Gem @gemfletcher on Instagram. If you've enjoyed this episode, please leave a review. It really helps like minded people find the podcast. Thank you for listening to The Messy Truth. We will be back very soon.
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In this minisode, Gem Fletcher speaks to previous guest Micaiah Carter about his first monograph, What’s My Name. The book, published by Prestel, charts over a decade of Micaiah's work interlaced with images from his parent's archives dating back to the 1960s. His work, often celebratory in tone, is a true care practice for everyone he collaborates with. We dig into the emotional labour of making a book, what he discovered about himself and what he had to overcome to put himself out there to create a new American dream.
The TMT minisodes are short, focused conversations with photographers on books, exhibitions, and special projects, focusing on not just how these endeavours came into being but also what they bring out in us in terms of growth and reflection.
Follow Micaiah on Instagram. Follow Gem @gemfletcher on Instagram. If you've enjoyed this episode, please leave a review. It really helps like minded people find the podcast. Thank you for listening to The Messy Truth. We will be back very soon.
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Gem Fletcher chats to Rene Matić about a moment of flux in their practice. They are looking differently at the world, their work and the relationships they hold close. There is a change of pace, intention and visual language brewing for the artist who has literally not stopped making since they picked up a camera five years ago. In the episode, they talk about their first solo show, Kiss them from me, at Chapter NY. They also dig into friendship, love, being with each other, tiredness, optimism, nationalism and patriotism and above all rudeness, which is a guiding principle of their practice.
Rene Matić (b. 1997, Peterborough, UK) is a London-based artist and writer whose practice spans across photography, film, and sculpture, converging in a meeting place they describe as "rude(ness)" - an evidencing and honouring of the in-between. Matić draws inspiration from dance and music movements such as Northern soul, Ska, and 2-Tone as a tool to delve into the complex relationship between West Indian and white working-class culture in Britain, whilst privileging queer/ing intimacies, partnerships and pleasure as modes of survival.
Follow Rene on Instagram. Follow Gem @gemfletcher on Instagram. If you've enjoyed this episode please leave a review. It really helps like-minded people find the podcast. Thank you for listening to The Messy Truth, we will be back very soon.
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Andi Galdi Vinko is an internationally acclaimed artist working in photography. Her work draws visual analogies between intensely personal and intimate experiences of motherhood and womanhood and universal human experiences of coming of age, ageing, loss, and the conflict between Western and Eastern European ideologies. In this episode, we talk about her award-winning book, Sorry I Gave Birth I Disappeared But Now I’m Back and everything that went into the project. We also talk about survival strategies and the experience of being a working parent and artist.
Andi has been commissioned and published in magazines such as the FT Weekend, Apollo Magazine, Wallpaper, The Guardian, The Observer, Zeit Magazine, Volkstrant Magazine, M Le Monde, Die Zeit, El Pais, i-D, Dazed, Vice, The New Yorker, Tate etc, among others. Her recently published book (Sorry I Gave Birth I Disappeared But Now I’m Back, Trolleybooks, London) was launched at Unseen Amsterdam, at Paris Photo at Ruptures Associes, at TJ Boulting Gallery in London, and Bildband in Berlin with Felix Hoffman. She also won the 2023 Kraszna Krausz Book Award.
Follow Andi @andigaldi & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Iranian-American photographer Sinna Nasseri describes his ability to catapult viewers into every scene he captures as a "gonzo journalism curiosity." He brings the audience along with him, always thinking about what they want to see. As a self-taught photographer, the path was in no way easy, and he continues to craft a life that enables him to work but with the necessary sacrifices. In a surprising turn of events, 2020 became the year that put Sinna on the map. On the show, we talk about the highs and lows of building a career in the photo industry, what makes a good photo, the pressure and discomfort that comes with figuring out your style and a rhythm of working, while also understanding the conditions in which you do your best work.
The photographer has spent the last three years working on assignments for The New York Times, Vogue, GQ, Departures, The Sunday Times and Interview Magazine and collaborating with clients like Thom Browne. He lives and works in LA.
Follow Sinna @strange.victory & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Since the 1990s, Vinca Petersen's work has remained an authentic voice of European counterculture, providing diaristic windows onto alternative spaces and lifestyles. A multidisciplinary artist who works in the area of social practice, Petersen's works emerge from a deep social and political engagement with underrepresented communities, giving them a voice and recognition. Her photographic oeuvre captures a period spanning 1990-2004, documenting the artist’s experiences as part of the free party and traveller community. The images juxtapose the sense of escapism and euphoria of this unique cultural moment with the oppressive political climate which outlawed the lifestyles of those responsible for Britain’s rave scene. As well as archiving thousands of photographic images, Petersen has attempted to document a way of life: its flyers, posters and clothes; her work constitutes an archive that records the techno-fuelled raves and lives of the travellers who organised them, but also a creative response to breaking barriers between individuals.
Vinca Petersen’s (b.1973) recent solo exhibitions include Make Social Honey - A Collective Search for Joy, Northern Gallery of Contemporary Art, Sunderland, UK (2022); Raves and Riots, Edel Assanti, London, UK. Selected group exhibitions include Techno Worlds, Goethe-Institut, Los Angeles, USA (2022); Sweet Harmony: Out of the Underground, HetHEM, Amsterdam, The Netherlands (2022); It’s a Rave Dave, Giant Gallery, Bournemouth, UK (2021); Night Fever: Designing Club Culture, V&A Dundee, Dundee, UK (2021); Rave, Saatchi Gallery, London, UK (2019); Seaside Photographed, Turner Contemporary, Margate, UK (2019); Diaristic Books, Turner Contemporary, London, UK (2019). Her work is in several public collections including The Arts Council Collection, London, UK; National Portrait Gallery, London, UK; The Monsoon Collection, London, UK; Victoria & Albert Museum, London, UK. Vinca Petersen (b. 1973) lives on the Isle of Skye.
You can support Vinca's work here: https://www.patreon.com/VincaPetersen
Follow Vinca @vincapetersen & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Balarama Heller's practice reimagines archetypal symbols found in the natural world. He explores primal symbols and patterns, both real and imagined, working towards a visual language of preverbal awareness. These symbols interact in a ceaseless cycle of creation and destruction, referencing the cosmological, mythological, and atomic scales. During our conversation, we talk about how his personal history informs his work, his research practice and how he is shifting away from direct observation to the most reduced and refined versions of his work.
Balarama lives and works in New York City. Recent exhibitions include Sacred Place with Aperture Foundation / Artsy. Recent group shows include Maelstrom, at 303 Gallery, New York, You Can't Win, Jack Black's America curated by Randy Kennedy at Fortnight Institute, What's Outside the Window at ReadingRoom, Melbourne AU, Agnes B New York, New Artists at Red Hook Labs and the 2015 Aperture Summer Open. In 2014, he published his first artist book, Into and Through. Zero at the Bone received 1st place for the 2017 Center Awards Editor’s Choice and runner-up for the 2017 Aperture Portfolio Prize. His 2019 project Sacred Place was featured in Aperture Magazine issue 241, with text by Pico Iyer.
Follow Balarama @balaramaheller & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Sheida Soleimani’s work explores intersections of art and activism. She melds sculpture, performance, film and photography to highlight critical perspectives on events across the Middle East, unpicking the complex power dynamics between the region and Western nations.
Her work interrogates the dissemination of information in digital contexts, adapting found images from press and social media leaks to exist within alternative scenarios. In doing this, she’s rigorously
interrogating the role of images in our lives and psychology, as well as the way they manifest as propaganda in geopolitics. During our conversation, we talk about process, practice, craft, care critique and the importance of spontaneity.
Sheida Soleimani (b. 1990) received her MFA from Cranbrook Academy of Art in 2015. Recent solo exhibitions include Ghostwriter, Edel Assanti, London, UK (2023); Negotiators, Kunsthaus Photoforum Pasquart, Biel, CH (2022); Ghostwriter, Providence College Galleries, Providence, USA (2022); ILVA, Castello San Basilio, Basilicata, Italy (2022); Levers of Power, Silver Eye Centre for Photography, Pittsburgh, USA (2021); Hotbed, Denny Dimin Gallery, New York, USA (2020); Medium of Exchange, Southern Utah Museum of Art, Utah; CUE Art Foundation, New York; Cincinnati Contemporary Art, Cincinnati and Atlanta Contemporary, Atlanta, all USA (2018-2019). Selected group exhibitions include Rising Sun: Artists in an Uncertain AmericaA Trillion Sunsets, ICP, New York, USA (2022); Immune Project, Living Art Museum, Reykjavik, Iceland (2022); Denunciation!, ACC Gallery, Weimar, Germany (2021); deCordova Biennial, deCordova Museum of Art, Lincoln, USA (2019); Ecologies of Darkness, SAVVY Contemporary, Berlin, Germany (2019). Soleimani lives and works in Providence, Rhode Island.
Follow Sheida @sheidajanam & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Alexandra Rose Howland's practice is invested in illustrating the difficult complexities of our existence. Through her work, she seeks to generate a more expansive understanding of how issues around conflict and the climate crisis are portrayed. She does this by resisting the historical notion of photography as a mode of direct representation created by a single author. Instead, she embraces image-making as a social practice, co-creating stories with her participants.
Alexandra has lived in the Middle East over the last decade, creating work that aims to challenge and expand the ways that geopolitical events are communicated. Her background as an abstract painter informs her practice, resulting in multidimensional projects that use images, found objects, interviews and video. She has shown internationally with both solo and group exhibitions including Leave and Let Us Go (solo), FOAM Museum Amsterdam, Road to Mosul (solo), London, Textured to Only Us (solo), Los Angeles. Leave and Let Us Go was published by GOST Books in 2021.
Follow Alexandra @alexandrahowland & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Myriam Boulos’s practice is rooted in community and resistance, exploring the complex ways our bodies metabolise trauma, assert resistance, seek pleasure and express layers of identity. During our conversation, we talk about Myriam’s projects through the lens of intimacy, survival, political agency, resistance and revolution and perhaps most importantly, consent.
Myriam Boulos was born in 1992 in Lebanon. At the age of 16 she started to use her camera to question Beirut, its people, and her place among them. She graduated with a master degree in photography from L’Académie Libanaise des Beaux Arts in 2015. Myriam took part in both national and international collective exhibitions, including “Infinite Identities” (Amsterdam), 3ème biennale des photographes du monde arabe (Paris), and “C’est Beyrouth” (Paris). Today she uses photography to explore, defy and resist society. In 2021 she was awarded the Grand prix ISEM and she joined Magnum. She is the Photo Director of Al Hayya Magazine and is currently working on her first book, What’s Ours, in collaboration with Aperture.
Follow Myriam @myriamboulos & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Throughout her career, Photo Director Jacqueline Bates has harnessed the power of photography to give visual journalism new dimension. During our conversation, we talk about her new role at the New York Times Opinion section in which she’s publishing up to 90 stories a week. We discuss the blurring of art and editorial, how she works with emerging talent and we visit some of her most fascinating commissions. As you will hear throughout the episode, Jackie is deeply committed to her responsibility as a photo director, always in service of the story, while taking creative risks and expanding the notion of who can work editorially in meaningful ways.
Prior to the NYT Opinion Section, Jacqueline was the founding photography director of The California Sunday Magazine, the Pulitzer Prize-winning print magazine, and “Pop-Up Magazine,” the acclaimed live-magazine show. Under her direction, California Sunday won the National Magazine Award for photography in 2016 and 2017, the first title in 25 years to win in consecutive years. Previously, she was the senior photo editor of W Magazine and worked in the photo departments of ELLE, Interview and Wired. She holds an MFA in photography from the School of Visual Arts, and teaches at Parsons School of Design.
Follow Jackie @jackiecbates & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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In this episode, Gem Fletcher speaks to photographer and artist Rhiannon Adam. Her work is heavily influenced by her nomadic childhood spent at sea, sailing around the world with her parents. Little photographic evidence of this period in her life exists, igniting an interest in the influence of photography on recall, the notion of the photograph as a physical object, and the image as an intersection between fact and fiction – themes that continue throughout her work.
In 2015, supported by the BBC/Royal Geographical Society, Adam travelled to the remote island community of Pitcairn in the South Pacific. Pitcairn measures just two miles by one mile and is home to just 42 British subjects, descendants from the Mutiny on the Bounty. A decade ago, the island’s romantic image was tarnished by a string of high profile sexual abuse trials. As a result, islanders are particularly reticent about accepting outsiders. With trip duration dictated by the quarterly supply vessel, there would be no way off for three arduous months. Adam’s project is the first in-depth photographic project to take place on the island, and made its debut at Francesca Maffeo Gallery in Spring 2018. The project won the Meitar Award for Excellence in Photography in 2020. The resulting book, Big Fence / Pitcairn Island (Blow Up Press), was formally released in April 2022 on the anniversary of the Bounty Mutiny and appeared in the final 10 titles selected for the Photography Book Award at the 2022 Kraszna Krausz Foundation book awards.
In the show, we have a roving conversation about how projects unravel, creative intentions, working in discomfort, and the challenges of working within a broken system, VIA conversations about bookmaking, multifaceted careers, beauty, and going to space - which Rhiannon actually is doing with Space X and Dear Moon. But at the heart of it are some interesting ideas about what photography is and can do.
You can find our more about Dear Moon and Rhiannons trip to space here.
Follow Rhiannon @rhiannon_adam & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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In this episode, Gem Fletcher speaks to London-based photographer Steph Wilson. For Steph, The body is such a vast universe of paradoxes that will never get old. Traversing the space between fine art and fashion, Steph cherishes humour and joy, while exploring the possibilities of our bodies. She is interested in the edges; the awkward, uncomfortable, ugly, shameful and challenging and takes these elements to assert new modes of beauty and being. Shooting commercial, editorial and personal work, her expansive practice has manifested into work for Gucci, Versace, Nike, Dazed & Confused and Vogue Italia.
Follow Steph @stephwilsonshoots & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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In this episode, Gem Fletcher speaks to London-based photographer Harley Weir. In this episode we discuss how her approach to image making is one rooted in alchemy - creating space for the unexpected. She fuses materials together that challenge each other, evoking an immediate and arresting world, familiar to us and filled with emotion, yet suggestive of a darker and more compulsive set of psychic and material forces. Beyond her limitless talent, what's captivating about Harley is her honesty - about her process, the industry and what her practice enables her to do.
Harley is a London based widely-acclaimed fashion photographer whose work has been commissioned by brands like Balenciaga, Gucci, Isabel Marant, Marc Jacobs. She has published five books to date and exhibited in a number of institutions including Foam Amsterdam and MEP and Hannah Barry Gallery. What unites this work is a highly-attuned sense of colour and composition that disrupts notions of gaze, desire, sexuality and beauty while also speaking to a range of political and social issues including plastic waste, the rights of refugees and migrants, marine conservation. Her practice is nor interested in being one thing, instead it explores multiple avenues at any one time.
Follow Harley @harleyweir & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Gem Fletcher speaks to artist Audrey Blue (nee Gillespie) in the final episode of a three-part series in partnership with Seen Fifteen Gallery. The Troubles Generation - an ongoing curatorial project by Vivienne Gamble invites artists who grew up in Northern Ireland during The Troubles to shed new light on the impact of being brought up in an era of intense sectarian violence.
Audrey Blue is a fine artist from Derry, Northern Ireland. Currently based in Belfast, her media includes analogue photography, painting and printmaking. Blue’s themes explore queerness, mortality and conflict with youth and anxiety. This Hurts has been exhibited in Ireland at Photo Ireland Photography Festival (2022), Belfast Exposed Photography Gallery “Street View” (2022) and within the major group exhibition, Saturation, at Crawford Art Gallery, Cork. Audrey Blue is a selected artist for New Irish Works (Photo Ireland) and the European photography platform, FUTURES.
Looking ahead to a significant future moment in UK and Irish history with the 25th anniversary of The Good Friday Agreement in 2023, The Troubles Generation project seeks to examine the legacy of The Troubles from the viewpoint of artists born into its divided society and with lived experience of growing up with conflict as the backdrop to their lives. Taking a phased approach to developing photographic projects and new writing, the ultimate ambition is to create a large-scale touring exhibition in 2023. The project's first phase at Seen Fifteen has been generously supported by the Genesis Kickstart Fund, enabling three solo exhibitions with Martin Seeds, Gareth McConnell and Audrey Blue.
Seen Fifteen is an independent emerging gallery and project space in Peckham, South East London. Seen Fifteen’s artistic programme champions contemporary photography with a focus on emerging, diverse and experimental artists who expand the boundaries of the medium. Founded in 2015 by curator Vivienne Gamble, the gallery has hosted a number of widely acclaimed first UK solo shows for breakthrough photographic artists such as Laura El-Tantawy, Jan McCullough, Maya Rochat and Martin Seeds.
Follow Audrey @artdrey__ Seen Fifteen @seenfifteen & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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Gem Fletcher speaks to photographer Gareth McConnell in the second episode of a three-part series in partnership with Seen Fifteen Gallery. The Troubles Generation - an ongoing curatorial project by Vivienne Gamble invites artists who grew up in Northern Ireland during The Troubles to shed new light on the impact of being brought up in an era of intense sectarian violence.
Gareth McConnell is a London-based photographer with diverse interests and many styles of approach. His work as a fine artist has been given recognition in monographs, cover features, and articles including from Steidl/Photoworks, Frieze, and Aperture. His fine art prints are widely collected. In the past, he has worked as a documentary photographer for the New York Times, and served high-end fashion – Vogue Homme, Pop, and AnOther, and clients like Dior, Gucci and Chloe. He has worked in the music industry with artists including Sia, Disclosure and Ivan Smagghe. McConnell has actively instigated non-commercial projects with other artists and writers, publishing them under his imprint Sorika, and has co-curated a show at London’s ICA, and talk events at the ICA and Tate Modern. McConnell has shown at many galleries and fairs, including Carl Freedman Gallery, Frieze Art Fair, Kasmin Gallery, the National Portrait Gallery, and the Photographers’ Gallery. He is represented in significant private and public collections. He increasingly values a direct relationship with audiences through his websites and social media platforms.
Looking ahead to a significant future moment in UK and Irish history with the 25th anniversary of The Good Friday Agreement in 2023, The Troubles Generation project seeks to examine the legacy of The Troubles from the viewpoint of artists born into its divided society and with lived experience of growing up with conflict as the backdrop to their lives. Taking a phased approach to developing photographic projects and new writing, the ultimate ambition is to create a large-scale touring exhibition in 2023. The project's first phase at Seen Fifteen has been generously supported by the Genesis Kickstart Fund, enabling three solo exhibitions with Martin Seeds, Gareth McConnell and Audrey Blue.
Seen Fifteen is an independent emerging gallery and project space in Peckham, South East London. Seen Fifteen’s artistic programme champions contemporary photography with a focus on emerging, diverse and experimental artists who expand the boundaries of the medium. Founded in 2015 by curator Vivienne Gamble, the gallery has hosted a number of widely acclaimed first UK solo shows for breakthrough photographic artists such as Laura El-Tantawy, Jan McCullough, Maya Rochat and Martin Seeds.
Follow Gareth @garethwmcconnell Seen Fifteen @seenfifteen & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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In this episode, Gem Fletcher speaks to photographer and educator Martin Seeds as part of a three-part series in partnership with Seen Fifteen Gallery. The Troubles Generation - an ongoing curatorial project by Vivienne Gamble invites artists who grew up in Northern Ireland during The Troubles to shed new light on the impact of being brought up in an era of intense sectarian violence.
Originally from Belfast, Martin Seed’s practice is shaped by his relationship with his Northern Irish homeland. Personal narratives, the relationship to place, politics, conflict, sameness and difference, diaspora and myth are underlying themes that recur and interconnect in his work. He experiments with combinations of analogue and digital imaging technologies as a way to draw attention to the conflicting experiences of identity, history and culture. Martin Seeds was nominated for the Deutsche Borse Photography Prize 2020 for his solo exhibition, Violence Religion Injustice Death, at Seen Fifteen in 2019.
Looking ahead to a significant future moment in UK and Irish history with the 25th anniversary of The Good Friday Agreement in 2023, The Troubles Generation project seeks to examine the legacy of The Troubles from the viewpoint of artists born into its divided society and with lived experience of growing up with conflict as the backdrop to their lives. Taking a phased approach to developing photographic projects and new writing, the ultimate ambition is to create a large-scale touring exhibition in 2023. The project's first phase at Seen Fifteen has been generously supported by the Genesis Kickstart Fund, enabling three solo exhibitions with Martin Seeds, Gareth McConnell and Audrey Blue.
Seen Fifteen is an independent emerging gallery and project space in Peckham, South East London. Seen Fifteen’s artistic programme champions contemporary photography with a focus on emerging, diverse and experimental artists who expand the boundaries of the medium. Founded in 2015 by curator Vivienne Gamble, the gallery has hosted a number of widely acclaimed first UK solo shows for breakthrough photographic artists such as Laura El-Tantawy, Jan McCullough, Maya Rochat and Martin Seeds.
Follow Martin @martinseeds Seen Fifteen @seenfifteen & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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In this episode, Gem Fletcher chats with photographer Tami Aftab. They dive into The Dog’s In The Car - a powerful and intimate collaboration between Tami Aftab and her father Tony, about his short-term memory loss and how it shapes his life and that of the wider family. Since graduating during the pandemic, Tami has worked tirelessly to cement herself as one to watch. During the conversation, we discuss how she works, the pressures of starting out, money, productivity, social media and grappling with the tension between ambition and patience.
Tami Aftab is an English-Pakistani photographer based in London. In addition to her personal work, she has shot for clients including Stella McCartney, Google, Hunter, Rapha and Sony Music. She has created editorials for the NYT, Family Portrait Magazine, Riposte, WeTransfer and Atmos, as well as exhibiting at Photoville and Format Festival.
Follow Tami @tamiaftab - Follow Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]
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