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This photographic work emerges from a body of research that has gained momentum over the last year and was included in the Photo-London 2006 in the form of an artist’s talk in the Royal College of Art hosted by Jean Wainwright (Art Monthly). The public event was previewed in Pluk magazine. Other group exhibitions of the work include The Apexarts, New York (July 07), the Kunsthall, Bergen, Norway (Sept 07) and the Northern Bounds Exhibition, Videographie, Montreal (Nov 07). Over the last two years the research practice has developed a body of photographic works that look at the process of historical narrative, by interrogating the role of the artefact. The approach explores our sense of historical knowledge and identity that creates a reciprocal relationship between past and present. The work begins with the singular vernacular photographic image of Bobby Sands; the first of 1981 Republican Hunger Striker. The project negotiates an axis between the historical and the psychological to reveal a contested history in post-conflict societies. An archaeological theoretical approach (Foucaultian and Freudian) excavates the anachronistic object; either visual, site or memory-based. In September 2006 a series of photographs were exhibited and an invited artist talk offered as part of the 9th International Syrian Photography Festival, Aleppo, Syria. The festival comprised of international and Syrian photography and the work selected consisted of four large-scale images (60 cm x 40cm) from the Maze Prison, Northern Ireland. The work formed a curatorial group exhibition at the Du Pont Gallery with artists Rini Hurkmanns and Lalla Esssaydi amongst others. The invited artists talk discussed the photographic work and the martyr relationship between Irish Republicanism and the Islamic Republic of Iran. This festival has been reviewed online, for instance http://www.fotofest.org/abroad/syria/aleppo06.htm
9th International Photography Gathering, Aleppo, pp.
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