MA: Socailly Engaged Art Practice, Manchester visit.

Photography students on the MA: Socially engaged Art Practice module took a trip to Manchester. There they visited a number of exhibitions and events.


Melanie Manchot’s exhibition TWELVE at Castlefield’s Gallery was the first port of call. The gallery director Kwong Lee, gave students and staff and introduction to both the work and Castlefield’s working model.

TWELVE is Melanie Manchot’s major new multi channel video installation exploring the intimate stories, rituals, repetitions and ruptures of lives spent in addiction and recovery. Inspired by the visual acuity of renowned contemporary filmmakers, the work connects and collapses individual recollections in which everyday situations, events and activities are rendered dramatic or abstract and infused with tragedy, pathos and humour. –

See more at:

From there students went to Victoria Train station, to view and discuss another MA student, Ian Clegg’s collaborative exhibition with ceramicist Angela Tait, ‘Position Open’


‘Position Open’ reflects upon the refurbishment of the Victoria Station.

Finally we visited an exhibition of work by UCLAN’s photography demonstrator Daniel Tierney.

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Photography at The Great Northern Creative Festival

Lots of great photography and much more …


Starts on Wednesday 22 April with a range of photography exhibitions in the Media Factory.
Privat View is 5pm to 7 pm – all welcome!

The Great Northern Creative Festival

22 – 25 April 2015

Photography Private View

Wednesday 22nd April

5pm – 7pm

University of Central Lancashire, Preston Campus

All Welcome

Media Foundation students will be presenting an eclectic set of imagery, exploring their individual approaches to Photography.

Media Innovation Suite, Fourth Floor, Media Factory

First year students will be displaying a range of self-published photobooks that offer innovative and original approaches to how the printed page can provide an ideal context for photographic imagery.

Media Innovation Suite, Fourth Floor, Media Factory

Second year students will be displaying a range of work produced in the specialist optional modules dealing with themes relating to imagery based in a fashion context and urban and city based work.

Media Factory

Third year students will be displaying the culmination of 3 years of degree level study; their final major project. This will be presented in a variety of different formats and deal with a broad range of subject matter.

Room 016 & First Floor, Victoria Building / Room 246 and First Floor, Media Factory

MA Photography will be displaying large photographic prints on the ground floor of the Media Factory, highlighting the renovation of Victoria station in Manchester and the course’s links with Northern rail. A range of moving image and new media projects by MA students will also be on display in the Media Innovation Suite.

Media Innovation Suite, Fourth Floor and Ground Floor, Media Factory

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Riley Arthur – Northern Rail Instagram Residency


Click on this link to see Riley Arthur’s interview on North West Tonight – the interview starts at 00.45:

You can follow Riley’s progress on Instagram:

Or search on Instagram for RILEYART

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WOLF Exhibition, Manchester

Group Flyer - Uclan Logo

WOLF Exhibition – Showcasing the work of 10 Photographers

Private View: Friday 30th January 6.30 – 9pm.  Manchester Photographic

Public View: Saturday 31st January 10.30 –

The WOLF exhibition will examine multifaceted approaches of the Anthropocene through narrative and ethnographic storytelling. The Anthropocene is a geological term used to describe the present epoch of time defined by the significant irreversible impact humans have made on the environment. Working within the themes of the Anthropocene, these artists have created work from as close as Manchester to as far as China with topics ranging from gentrification to fast food culture, lighthouses, historic structures and aging sea side resorts.

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Visiting Speaker – Kim Vermeulen

On a recent visit to UCLan, Kim discussed her ongoing project on Breastfeeding.


“My first exploration into British breastfeeding culture concentrated on public feeding, I asked mothers from a local breastfeeding support group to choose a location to have a breastfeeding portrait. Most mothers selected a public place, such as, a cafe or supermarket cafe. Based on the interviews with these mothers and informal interviews held weekly at the support group I produced a book. The book contains portraits of the mothers accompanied by short quotes referring to their public feeding and breastfeeding experiences. Also within the book I included information of all the local public places that had signed up through the Breastfeeding Network as ‘Breastfeeding Friendly’, as well as a list of the support group details available in the area.”

One of the images from this series has been selected for the Royal Photographic Society International Print Exhibition:


You can see more of Kim’s work at her website.

Kim Vermeulen is a graduate of MA Photography at UCLan.

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The Past Cannot be Cured

MA student Leah Henson explains the work she produced for our new module The Colonising Camera:

Leah-the past cannot be cured

“This project was designed to explore the idea of history, identity and heritage. The title, ‘The Past Cannot Be Cured’, is a quote from Elizabeth I. She was concerned with the number of black people in England and ordered that they should be deported to Spain and Portugal.”

“Through my research for the project, I felt that the historical representation of black people was rarely positive. I wanted to counter hegemonic representations and show a black woman in an empowering way – something that I hoped viewers would be able to identify with.”


“I combined other photographs with archival imagery of Victorian and Tudor patterns, and Victorian botanical drawings. This was designed to create a sense of a fusion of cultures and make the audience further consider their place in society and history.”

“Using the past to contextualise the present is a theme that I hope is apparent in my work. It is my intention that my work will promote discussion and that those who view my work will want to challenge hegemonic attitudes and reduce negative representations in art based on race and gender.”

Leah Henson

More work here:

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The Colonising Camera

This year MA Photography ran a new module exploring photography’s histories and futures to ask:

Is it possible to remove the ‘othering’ gaze from the lens of the well-heeled photographer in the Global North who records the life of others? What are the continuing implications of this for the professional photographer today, given that the idea that marginalised communities should document their own struggles without the interference of “outside” agents is also fraught with difficulty, not least of which is the impossibility of defining what “outside” actually means in many contexts. (Roesler)

Sri Lanka

In exploring such questions the module considered debates in post-colonial theory and explored photographic imagery of the Global south and that of marginalised communities to evaluate the way they have been both dismantled and reconfigured in the twenty first century.   It also explored what a photography for liberation and a civil imagination (Azoulay) might mean.

India text detail

Students used the theoretical insights they gained to produce photographic work that reflected on the representation of black women in photography, photographic ethics and transgender as well as the image of labour in coal mining in China.

Dr Anandi Ramamurthy

New Book: Black Star: Britain’s Asian Youth Movements, Pluto Press (2013)

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