at Independent Photographers Gallery. |
1st Nicolas Ferrando |
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2nd Clare Park |
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3rd Ahmet Unver and Indre Serptyte |
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The selected runners up are:
Joss McKinley |
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Ione Rucquoi |
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Zak Waters |
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Cecilia Ostebo |
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Darren Harvey-Regan |
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Liz Hingley |
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Highly commended Greg Daville. James Tye up from the shortlist. |
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In The Bag - Geraldine Alexander
The judging of IPG's first Terry O'Neill Award took place on one of the few sunny days this summer at the De La Warr Pavillion, Bexhill-on-Sea. The choice of venue, although off the beaten track for some of the London-based judges, was quite appropriate as there is more than a geographical link connecting the two institutions. Firstly, in spite of obvious differences such as size, status and age of establishment, both are showcases for contemporary works of art in the South East. Celia Davies, Head of Exhibitions at the DLWP, and a judge of the competition, paid tribute to the steady progress of the IPG commenting on its 'very national and international outlook…supporting really good photography [by people] at different stages of their career'
Celia's comments sit well with the fact that IPG sought the widest possible audience for the inaugural year of its competition. Her words are also reflected in the truly global flavour of the entries, despite all contributors having to be UK based. The open nature of the competition's criteria meant there were few barriers in terms of age and content. At the same time it has highlighted the huge magnetism the UK has for foreign students wanting to study and practice photography here, as well as the significant number of home-grown talent
Melissa De Witt was one of a number of judges drawn to the work of Lithuanian artist Indre Serpytyte. Her dramatic still lifes demonstrate a polished execution and stark symbolism about which Melissa observed, 'although the images should speak for themselves, regardless, I think the best work is multi-layered'. Indeed it comprised of a careful selection of mundane objects placed centre stage to create a series of not so black and white images. The disconnected phone, the unpacked shirts and piles of blank paper, all visual allusions to a life suddenly interrupted, and the silence that ensued. It is but a short step to discover the series relates to the untimely death of the artists father.
The theme of loss and alienation was widely represented (either overtly or obliquely), raising more questions about the angst-ridden life of the 21stC. Self-taught professional Zak Waters's work documents the waning hobby of pigeon fancying, particularly in the north. They have a ring of nostalgia to them and focus on a way of life that is uniquely British but is fading fast. The series is shot in black and white, and is reminiscent of classic 'kitchen sink realism' from the '1960s. Waters' 'disappearing world' is a lifetime away from the so-called classless society and another strata of lost souls produced by the modern era: the homeless. Liz Hingley's 'faceless' people are hidden behind the theatrical props found in designer show-houses, depicting them as incongruous playmates: displaced persons and the luxury items. Significantly neither have permanent fixed abodes, and both will shortly be moved on.
Maybe it was the general connectivity of subject matter, rather than the work itself, which briefly united the panel as they reduced their 6 personal favourites to a collective selection of 10. The judges were drawn from very different areas of the industry including the Arts, advertising, photo-journalism and publishing, and their individual choices were informed by their backgrounds. Robin Bell noted that each person's choice also 'reflected their personality'. As a highly regarded practitioner of his craft, Robin has printed most subjects yet, 'judges them on a purely emotional reaction, rather than artists' reputations, politics or current trends'. The panel was clearly aware of individual career and character differences, Sophy Rickett commented that she 'anticipated more dissent' but as they 'really did agree broadly, and quite quickly…that must mean the strongest images did stand out'.
Ailsa McWhinnie spoke of the need to compromise as a prerequisite for any panel of judges. She also stressed that this did not have to be a 'negative' concession as in her experience an element of give and take works both ways: 'I've judged competitions and I've managed to bring people round…listen[ing] to other people's points of view [means you] maybe start assessing the work slightly differently in your own mind. But then, also make your own case for the work that you feel strongly about too!'
The casting vote was awarded to the man in whose name the competition has been created around: Terry O'Neill. In agreement with the rest of the panel he paid tribute to the huge response and excellent standard, he also commented on the impassioned arguments put forward by his colleagues as to which entrant should earn the title of overall winner: 'people really cared about certain pictures and that's what makes a really good competition, so out of that you solve which one is going to win anyway'.
Thus the last words have to be reserved for the overall winner: Nicolas Ferrando. In this strongly contested finale, his work earned the highest number of votes. In his own words he used humour and irony to explore and challenge prescribed notions of identity asking his viewers to do the same; it was a strategy that clearly gave him an edge on the day. In his artist's statement he concludes with the remark 'What is under the Paper bag is up to you.