Brutalist architecture is divisive – its style is appreciated by many and disliked by many. Brutalist high-rise social housing projects were designed with progressive qualities in mind, but fell short of this goal, being known for fostering crime and for their poor design, construction and maintenance. 'Low-rise' explores brutalism, the relationship between housing and its environment, and how this relationship was one of the keys to success in the low-rise estate when compared to the high-rise tower block. Captured on infrared film, the photographic technique highlights the relationship between housing and its environment by rendering nature in a luminous white. We were working then, not to do social housing, but to do housing. Not to do a site, but to work on the idea of a piece of city, to revitalise and work with the society that was there. - Neave Brown

Dan Bowhay’s ‘Visual Un-impairment’ explores his monocular (sight in one eye) vision, the similarity of the camera to his vision, and the manipulation of the camera’s time-freezing ability to capture depth in a way that is explorable to a limited extent for Dan - but far beyond what he experiences naturally in day to day life. Dan captures stereoscopic pairs of images that through unconventional presentation allow him to explore the depth of a scene by physically moving around the image. With this technique, he revisits locations of key childhood memories and explores these locations with depth that he never experienced as a child.

'Off-season' follows the 10.6 Mile (~17 KM) journey from Sandbanks, past Bournemouth and Boscombe Pier, Southbourne, and concluding at Mudeford Sandbank. Along the way it individually documents the 3531 beach huts (as of 05/11/23 – though this figure includes the 7 that were demolished during the making of the project). It captures the uniformity and yet also uniqueness in which the beach hut is decorated. Occasional views present the private, yet due to the nature of their positioning along the promenade, incredibly public internal spaces of the huts – and in many cases the occupants who were utilising the space during the off season months.

‘The Heavens and the Earth’ explores the idea of conversing the traditional process of landscape photography. Instead of exploring the world and finding a natural landscape, choosing a composition and waiting until the time and weather conditions were right, this project approached landscape photography with a blank slate. Starting in an empty studio, rolls of paper are strung across the frame, forming a pseudo landform, and through careful positioning of apparatus, elements of the natural world are invisibly suspended in the scene, creating a contrived landscape.

'The Photographs I Did Not See' explores my memories of my great-grandfather’s archive of photographs taken during his time working for the Colonial Service in Northern Rhodesia. As a child, images from this archive were shared with me and I understood these at a surface level – as happy family life – though I could see it was a different life to my own and that there was more to the photographs than I could grasp. Now revisiting the archive with a greater understanding of my Great Grandfather’s role and the impact of Colonialism, I have reflected on my memories and the context of these images to provide an exploration of The Photographs I Did Not See.

'Threshold' explores and encourages the observation of society. Through an editing technique that creates seamlessly looping multiple exposure videos, multiple moments in time are combined, and the viewer is encouraged to scrutinise the everyday – the moments of indecision, interaction, and play, to name a few – as people pass through these transitory spaces.

Exploring the heightened appreciation for nature gained from the 2020-21 lockdowns, through moving image on a projection-mapped installation.

'Distortion of Light and Colour' is an experimental project exploring interactions between light, colour, and arrangements of materials. Captured in darkness using long exposure, coloured light is moved around an arrangement of acrylic prisms, resulting in an abstract distortion of light. These photographs have been printed onto acetate and then distorted again by creasing and folding these sheets. Then the photographic process is repeated, with a different arrangement of prisms being placed between two of these distorted acetate sheets, and then once again, the arrangement is illuminated and photographed.