BJP INTERNATIONAL PHOTOGRAPHY AWARDS

IPA SINGLE IMAGE SHOW

30 APRIL - 22 MAY 2021

Seen Fifteen is delighted to host the inaugural IPA Singles Show as part of the British Journal of Photography’s International Photography Awards.

Running for 15 years, the BJP International Photography Award discovers the best in contemporary talent around the world and has launched the careers of some of today’s most sought-after photographers. Each year the award brings together a judging panel of industry leaders to celebrate and reward one outstanding body of work with a solo show at TJ Boulting. In 2020 the award was expanded to include an additional group show category – awarding 20 single image winners a show at Seen Fifteen.

Michael Barry, IPA Single Image Awards Winner 2020

PHOTO LONDON DIGITAL

DRAGANA JURISIC, ALEXANDER MOURANT, MARTIN SEEDS

ONLINE 7-18 OCTOBER 2020

The inaugural digital edition of Photo London is taking place online via the Artsy platform from 7th to 18th October 2020. Seen Fifteen is thrilled to participate, bringing the work of three exciting talents in contemporary photography together in our digital booth.

Dragana Jurisic, Mnemosyne's Daughters, Clio (2015)

HURRY UP PLEASE IT’S TIME

JO DENNIS, LAURA EL-TANTAWY, ELENA HELFRECHT, MAYA ROCHAT, MARTIN SEEDS

9-26 SEPTEMBER 2020

Seen Fifteen is delighted to announce a new group exhibition – Hurry Up Please It’s Time – to reopen the gallery space this September. The show brings together five contemporary artists working with photography and responds to themes related to the shared experience of coronavirus lockdowns across the world this spring and summer.

With lockdown came an enforced slowdown of twenty-first century life and a dramatic shift in our relationship with our lived environment. Isolation confined us to our domestic spaces. Nature and green space became a tonic to balance physical and mental wellbeing. The abrupt change in global pace also revealed that the world can quickly adapt destructive forces if it’s believed to be urgent enough to do so. Each artist in the exhibition raises questions around our relationship to our environment – the personal, the political and the organic. The gallery is pleased to present new bodies of work made during lockdown, as well as existing works that can now be read with new context.

Hurry Up Please It’s Time takes its sense of urgency from a line in T.S. Eliot’s disorientating modernist poem, The Waste Land, written a century ago at the time of the last global pandemic, and also a reference for new work on view by Jo Dennis.

Elena Helfrecht, From the series, Inwards (2020)

REBEL GODDESS

DRAGANA JURISIC & CATHERINE McWILLIAMS

29 NOVEMBER 2019 - 11 JANUARY 2020

Seen Fifteen is delighted to announce a new exhibition of photography and painting by artists Dragana Jurisic and Catherine McWilliams. REBEL GODDESS brings together works by both artists that draw inspiration from legends of ancient goddesses as a conduit for comment on the pressing issues of our time. In Greek mythology, Gaia was the ‘mother’ of Earth who gave birth to the sky, the heavens, the sea and the mountains. Gaia is also mother to Mnemosyne, goddess of memory, and grandmother to the Nine Muses, the goddesses of artistic inspiration. She is depicted as a strong matriarchal figure who rebels against the rule of successive gods. The exhibition takes Gaia’s rebellious streak as its starting point.

Dragana Jurisic’s series 100 Muses is a chapter in the ongoing photographic project, My Own Unknown, and part of a long-term exploration into the layers of female identity. With 100 Muses the artist subverts the traditional art historical genre of the female nude and asks the question: What happens when a female photographer turns her gaze onto the female body? The one hundred subjects, who range in age from 18 to 85 years old, all answered to an open call. In the artist’s studio they were given two props: a chair and a veil, and complete control over their pose. The photographer handed editorial power to the women. Jurisic describes the process as being liberating for both herself and her sitters:

“It became a therapy session that went both ways. There were tears and laughter, and even dancing. When I asked why they felt like dancing, they said they felt free to be naked for the first time since being children. There was no expectation of sex. They were not in a doctor’s office. The stories of oppression that we shared with each other, of abuse done to many of us, was shocking to come to terms with. Every woman who participated provided a mirror. My attitude towards my own body, or shame, has changed drastically since then. I felt unburdened. I hope they did too.” Dragana Jurisic

This sense of shared experience is present in the next chapter of My Own Unknown, where Jurisic layers the nude portraits into a set of powerful multiple exposures, named Mnemosyne’s Daughters. A final work, Mnemosyne, is an overlap of all 100 Muses portraits and an expression of collective female power.

Female figures have played a central role in Catherine McWilliam’s paintings over a number of decades from the 1960s to the present day. During the Northern Irish Troubles in the 1970s and 1980s they often appeared as isolated, ghostly forms set against a bleak landscape of security barricades and dark, oppressive skies. In moments of hope during these dark times, they would metamorphose into celtic goddesses and rise above a lush green landscape with a sense of joyous freedom. McWilliams paintings during The Troubles elicit an underlying tension between the beauty of the rural countryside and the violence of civil war in the city.

“The space that she depicts around these forlorn figures does all the work. They are entrapped. They have little control or choice over their circumstances” Liam Kelly

Two new paintings, both inspired by the goddess Gaia, will be on display in REBEL GODDESS. In Green Gaia the landscape and the goddess become one. Gaia Burning represents rising concern for the landscape on a global scale. Painted over the summer of 2019, as forest fires raged out of control in The Amazon, the Gaia depicted here is a warning that our earth is fragile.

Dragana Jurisic, Mnemosyne’s Daughters, Erato (2015)