Gallery 103, 6th - 30th August
A continuation of works developed as part of SFG Photomonth in which The Forgotten Collective took a look at themselves from the perspective of other areas of the Scottish photographic community, each member inviting one photographer to join them as part of the discussion on the idea of community within creative practices. For this exhibition, The Forgotten Collective turns their gaze on themselves as a group, looking for connecting ideas and influences, and exploring how these affect the group dynamic.
Initially created in 2013 following their City of Glasgow College degree show, The Forgotten Collective was set up in order to allow its members to support, create and show new work in a supportive group context. The collective has subsequently had exhibitions at Veneer, DNA, Bar Ten and Six Foot Gallery (SFG) while the core members of the group have embarked on careers within photography including commissioned works from social history projects such as Paisley's Enchanted Threads and Govanhill People's History, as well as representation by arts vendors such as Culture Label. Members have also been involved in the development of photographic events including SFG Photomonth and 2014Frames.
Steven Scott’s ‘No Money Refund’ is an insight into the concealed 'grounds' of some of Glasgow’s Showpeople - a community with a deep cultural heritage which historically is synonymous with Glasgow entertainment. The anticipation of the fair or ‘shows’ is a feeling that most can relate to at some point in their lives and for generations the Showpeople have brought this joy to Scotland and the UK. In recent years the Showpeople in the East End have seen their usually private community imposed upon by the regeneration of the Dalmarnock area, a process that has seen communities that have lived in the area for upwards of 40 years unceremoniously uprooted and displaced. The remaining grounds currently face an uncertain future, as they are under review for being forcibly purchased.
With ‘154’ John McDougall is attempting to look at something which, to him, has been a constant presence. It focuses on a group of residents who were among the first to move into the Broomhill flats when they were opened in July of 1967, in particular the photographer's grandmother, with the aim of depicting the role that high rise living has played in their lives, their community and families. The work speaks of the passage of time as a continuum, with the lives of the residents and accumulated objects and mementos intertwining with the building itself.
Donald John MacLean’s street photography explores Glasgow’s bustling city centre, which he views ‘as a stadium of people’s desires’. To capture its character and edge, his instinct is to use black and white in order to highlight elements of abstraction and symbolism. He describes his images as ‘melancholic’, and the figures within them ghost like, haunted and fragile against the consumerist backdrop of the city spectacle. As such they don’t record a scene, rather capture in-between moments, accentuated by the stark exposure and grain of the image.
Csilla Kozma’s photographic work uses alternative processes as well as combining digital and analogue media. She cites literary influences such as Kafka, Chekov, Istvan Orkeny and Attila Jozsef, so it is not surprising her photographs often reference the absurd and the grotesque, and even her most colorful images leave some foreboding, gloomy impression. . One of the methods she is using is a fascinating and obscure process that allows her to create unique prints. By altering the silver gelatin photographs with a mixture of copper chloride, acetic acid and hydrogen peroxide, her aim is to create a unique, degraded effect, which compliments the image. Her images are in a perfect balance between the surrendering of control and the power of predictable decay.
Opening reception: Thursday 6th August, 6 - 8pm.