As part of photographer and writer Jesse Alexander’s residency, Bank Street Arts is hosting a symposium this summer that will consider how contemporary landscape practice has shifted from its pastoral traditions to embrace more nuanced, personal approaches.
Taking place on Saturday 23rd July between 10.30 am -4 pm, New Pastoral Paradigms: Explorations in Landscape and the Self will bring together a selection of photographic practitioners whose work combines the representation of place with personal and historical narratives. Central to the symposium is the question of how the medium of photography can be used to express and communicate the complexities of the relationships between place and individual and collective identities.
- Full price: £40.00
- Student: £35.00
- OCA students: £25.00
Tickets include refreshments and a buffet lunch and can be booked here via Eventbrite.
Jesse Alexander, BSA resident and author of Perspectives on Place: Theory and Practice, will discuss his project Elementary Husbandry- which exhibits at BSA throughout July and questions the traditional pastoral image of the English agrarian landscape- as well as his ongoing BSA residency project The Nymph and the Shepherd.
Displacement, myth and stereotype are central to Christina Stohn‘s work. Christina will present her projects Paradise Lost, an expression of her sense of estrangement from her native Black Forest landscape, and Sehnsucht, which examines the idea of ‘yearning’ for a place through imagery of the Romney Marsh in Kent. Christina will also discuss Entwurzelt, her visual response to one of the worst recorded storms in European history.
Building a connection with previous narratives is key to Michal Iwanowski’s photobook Clear of People, which retraces the footsteps of his grandfather and great uncle as they walked thousands of miles back to their hometown in Poland, escaping from a Soviet WWII prisoner of war camp.
Hanna-Katrina Jędrosz will discuss I Feel Every Stone of the Road. The series explores the experiences of Hanna-Katrina’s late Polish grandmother who, as a teenager, fought against Nazi occupation in the 1944 Warsaw Uprising, before recording her experience and state of mind in a diary while interned in PoW camps.
Family ties and place also underpin John Umney’s I keep looking for Him – I think I always will, which uses landscape photography as a vehicle to reflect on personal memory and autobiography. Using the relationship with his deceased father as a starting point, John explores the complex nature of the father-son relationship through the combination of text, personal artefacts, and landscape images set in an unsettled place in Oxfordshire called Purgatory.
New Pastoral Paradigms is kindly being supported by the Open College of the Arts.