More exhibitions to be announced soon!

Connie © Fran Monks

Zoom Portraits of COVID19 Vaccine Trial Participants

In partnership with the History of Science Museum, Broad Street

Throughout December 2020 and January 2021, Fran Monks photographed people who are vital to the recovery from the COVID19 pandemic. Using Zoom, Monks made portraits of volunteers on the Astra Zeneca, Pfizer, Imperial College, Novavax and Janssen vaccine trials.

An accompanying online discussion event including a vaccine scientist, trial volunteer and the artist, will be announced soon.

Read more about Zoom Portraits by Fran Monks

While making the portraits, Monks also gathered stories. For most, it is the first time they have taken part in a medical trial. They are ordinary people, driven by a desire to do their bit to help save lives and bring an end to repeated lockdowns.

Monks photographed people in a wide range of situations. The old and young, the high-risk and low-risk, those with and without family support. Without their participation in the trials we would be unable to commence mass vaccination programmes in record time-scales.

About the Artist:

Fran Monks is a portrait artist who specialises in celebrating the under-celebrated. She photographs people who are under-represented in order to draw attention to their achievements.

Since the pandemic began in 2020, Monks has been making portraits via video chat. These images have been published by the BBC, PBS, the Guardian, BBC History Magazine, and the British Medical Journal. One picture was selected by the National Portrait Gallery to represent the UK in lockdown, and five prints are being acquired by the Science Museum for their permanent collection.

© Chloe Dewe Mathews | Mass Baptism | 23/08/2013, 3.30 pm | Southend-on-Sea | approx. 180 | biannual | 51°31’54.6”N 0°43’32.7”E | overcast

Thames Log

Outdoor exhibition: Christ Church Meadows, Oxford OX1 4JF
07.00 – 18.00 from 15th September - 30th October
08.00 – 16.30 from 31st October to 15th November

Chloe Dewe Mathews spent five years photographing along the River Thames, from its puddling source to great estuary mouth. The resulting series of work, Thames Log, examines the ever-changing nature of our relationship to water, from ancient pagan festivities to the rituals of modern life.

This outdoor display, on the banks of the Thames at Christ Church Meadows, was made possible through the support of Christ Church College and Oxford Festival of the Arts.

Read more about Thames Log

As a child, Chloe Dewe Mathews crossed the River Thames every day on her way to school. She recalls watching the muddy water as it rushed beneath her, pulling great lumps of detritus as it went. In adulthood, after years photographing overseas, she returned to her native river, spending five years exploring its meandering path, from puddling source to great estuary mouth. The resulting series, Thames Log, looks beyond the river’s well-documented landscape to examine the human relationship with this famous watercourse and the ritualistic behaviour it inspires today.

The project focuses on lives that overlap regularly with the river but often go unnoticed— ship spotters cataloguing vessels as they sail through Tilbury, mudlarks sifting the city sludge in pursuit of Roman and Saxon treasure. Far upstream, beyond the tidal ebb and flow, we see a coracle mission, a pagan water ritual and a boat burning ceremony in Oxford. The project not only records happenings along the length of the river but also the exact GPS coordinates, dates, tides, and weather of each event.

The Thames is seen here as a place of exercise, relaxation and reflection, where people watch wildlife from grassy banks and city bridges. For some, it acts as a surrogate, conjuring faraway places and rivers elsewhere – the Volga, the Congo and the Ganges. For others, the Thames represents a point of departure into a new life, as human ashes are scattered into the water, floating downstream towards the open sea.

About the Artist

Chloe Dewe Mathews is an artist, photographer, and filmmaker. Her work is internationally recognised, exhibiting at Tate Modern, Irish Museum of Modern Art and Staatliche Kunstsammlungen, Dresden; as well as being published widely in newspapers and magazines such as the Guardian, New Yorker, Financial Times and Le Monde. She is the recipient of the Robert Gardner Fellowship in Photography from Harvard University’s Peabody Museum of Archaeology & Ethnology, and her work is held in public collections such as the British Council Art Collection, the National Galleries of Scotland and the Irish State Art Collection. Four monographs have been published on her work: Shot at Dawn (Ivorypress, 2014), Caspian: the Elements (Aperture / Peabody Press, 2018), In Search of Frankenstein (Kodoji Press, 2018) and Thames Log (Loose Joints / Martin Parr Foundation, 2021).

Linda in the Green Garden, 2011 from the series Pictures of Linda, 1983 – 2015 © Anna Fox, courtesy of The James Hyman Gallery, London.

Women on Women

Relationships, Identity and Power - Explored Through Photography

Outdoor exhibition: 15th October – 15th November 2021 (locations listed under 'read more' below)

Online exhibition can be viewed from 15 October on the Hundred Heroines website

A bold collection of work by contemporary visual artists. Images by Anna Fox, Hannah Reyes Morales, Lola Flash, Margaret Courtney-Clarke, María Magdalena Campos-Pons and Zanele Muholi will be located on digital bus stops around Oxford. Themes explored include women’s empowerment, mental health and LGBTQI identity.

These inspiring artists are brought together by photographer and curator Robert Taylor to explore intersectional feminism within photography today.

Alongside the digital display, ‘In Conversation' events will take place online, in a unique experience bringing global artists together. View our Events page for more details.

Read more about Women on Women

Outdoor exhibition locations:

72 Woodstock Road, Oxford OX2 6HP

Headington Road (Opp Oxford Polytechnic), Oxford OX3 7TS

25-27 Iffley Road, Oxford OX4 1EB

D3 New Road (opp Castle), Oxford OX1 1NF

New Road, Castle Mound, Oxford OX1 1AY

London Road o/s 58 at Latimer Road, Oxford OX3 7PB

About the Exhibition and Talks

As part of the Photo Oxford festival, Hundred Heroines is proud to present Women on Women: Relationships, Identity and Power - Explored Through Photography, a bold collection of work by six contemporary photographers. Images by Anna Fox, Hannah Reyes Morales, Lola Flash, Margaret Courtney-Clarke, María Magdalena Campos-Pons and Zanele Muholi will be located on digital bus stops around Oxford, placing the work of these innovative artists at the heart of everyday life in the city.

In anticipation of the showcase, curator Robert Taylor has expressed excitement at the ‘opportunity to celebrate women in their power, creativity and capacity to love, both as photographers and as their subjects.’ Importantly, the event will highlight the ‘essential, productive relationships between women’ typically neglected by mainstream media, championing intersectionality and amplifying the perspectives of ‘women we tend to see less of because of their age, marginalised social status, race, sexuality or inconvenient attitudes to mainstream values.’

Conversation is central to the programme. Two peer-to-peer talks will take place to complement the programme - one between Robert and Anna Fox, concerning her seminal collaboration Pictures of Linda, and another between groundbreaking documentary photographers Paola Paredes and Lola Flash, both renowned for their empathetic exploration of LGBTI+ experience. Taking place online on 23rd October (5PM) and 6th November (5PM) respectively, the talks are a rare opportunity to hear from these global artists simultaneously.

Encompassing themes such as women’s empowerment, mental health, and LGBTQI+ identity, the work offers insightful commentary on vital social issues, while pairing expertly crafted aesthetics with strong conceptual foundations. The exhibition marks a significant attempt to increase the inclusivity of the photographic canon, exemplifying Hundred Heroines’ ongoing mission.

About the Photographers

Photographer, Anna Fox

Professor of Photography at the University for the Creative Arts, Anna Fox (b. 1961, Alton) is one of the most acclaimed British photographers of the past thirty years.

Inspired by the U.S. ‘New Colourists’ and British documentary tradition, she first gained attention for Work Stations: Office Life in London (1988), a study of office culture in Thatcher’s Britain. Her collaborative projects Country Girls (1996 – 2001) and Pictures of Linda (1983 – 2015) challenge preconceptions about rural life in England, while My Mother’s Cupboards and My Father’s Words (1999) and Cockroach Diary (1996 – 99) expose dysfunctional relationships within the family home.

Anna’s solo shows have been seen at the Photographer’s Gallery, London, and the Museum of Contemporary Photography, Chicago, among others. She was shortlisted for the Deutsche Borse Photography Prize in 2010, and is currently working on the research project Fast Forward: Women in Photography, for which she has been awarded a Leverhulme International Networks Grant.

Photographer, Hannah Reyes Morales

Hannah Reyes Morales (b.1990, Manila) is a Filipina documentary photographer and visual storyteller. Dedicated to revealing the gentleness and love within difficult, often violent, situations, Hannah sensitively honours the experiences of the people she portrays.

Stories of resilience and community are recurrent themes within Hannah’s work. Her challenging series Season of Darkness bears witness to the consequences of the Philippine government’s ‘war on drugs’, highlighting the humanity of the victims, their loved ones, and wider communities. Her current, ongoing project, Roots from Ashes, gives voice to the survivors of a brutal act of violence in a small town north of Manila during World War II.

Hannah is a National Geographic grantee and received the 2020 International Center of Photography (ICP) Infinity Award for Documentary Practice and Visual Journalism. Publications featuring her work include The Washington Post, The New York Times, National Geographic, Al Jazeera and The Photographers’ Guide to Inclusive Photography x Authority Collective.

Photographer, Lola Flash

Working at the forefront of genderqueer visual politics for more than three decades, Lola Flash (b. 1959, New Jersey) has spent her career challenging the stereotypes surrounding gender, race, and sexuality. Her art and activism are profoundly connected, fuelling her commitment to preserving the legacy of LGBTQ+ communities and communities of colour worldwide.

Lola’s practice is firmly rooted in social justice advocacy and celebrates sexual, racial and cultural difference. In series such as Surmise and Salt, she uses portraiture to challenge stereotypes and interrogate the definition of social norms, offering new ways of seeing which defy misrepresentation.

In 2011 Lola was awarded an Art Matters grant, allowing her to undertake work in Brazil and London. Most recently, she was Artist-in-Residence at Alice Yard in Trinidad. Lola’s work is included in important public collections such as the Victoria and Albert Museum (London), as well as featuring in publications such as Posing Beauty, edited by Deb Willis, which is currently being exhibited across the USA.

Photographer, Margaret Courtney-Clarke

Margaret Courtney-Clarke (b. 1949, Swakopmund) is a prolific documentary photographer. After studying art and photography in South Africa, she spent the next four decades working as a photographer in Italy, the USA and across Africa.

In 1979, Margaret became persona non grata under the Apartheid laws and renounced her South African citizenship – later returning to South West Africa and asserting her Namibian birthright under the protection of the UN. Throughout her career, Margaret has pursued personal projects in Africa documenting feminine identity. Her dedicated publications include Cry Sadness into the Coming Rain (2018); the acclaimed trilogy on the Art of African Women: Ndebele (2002), African Canvas (1990) and Imazighen (1996), and collaborations with Maya Angelou.

Margaret is a highly acclaimed photographer, with nominations and awards including Deutscher Fotobuchpreis (2018), Germany; the 2018 Kraszna-Krausz Book Award (long listed); and a 2015 Henri Cartier-Bresson (HBC) nomination for her series On Borrowed Time. More than two hundred exhibitions of her photography have been held globally.

Artist, María Magdalena Campos-Pons

María Magdalena Campos-Pons (b. 1959, La Vega) is a multidisciplinary artist whose polyglot heritage profoundly influences her practice. Combining diverse media including photography, performance, painting, sculpture, film, and video, her autobiographical work investigates history, memory, gender, and religion, examining their impact upon identity formation.

Through deeply poetic and haunting imagery, Magda evokes stories of the Trans-Atlantic slave trade, indigo and sugar plantations, Catholic and Santeria religious practices, and revolutionary uprisings. Often using herself and her Afro-Cuban relatives as subjects, she creates historical narratives that illuminate the spirit of people and places, past and present, and renders universal relevance from personal history and persona.

Magda has had solo exhibitions at the Museum of Modern Art in New York, the Indianapolis Museum of Art, the Peabody Essex Museum, and the National Gallery of Canada, among other distinguished institutions. She has participated in the Venice Biennale (twice), the Dakar Biennale, and the Johannesburg Biennial, to name a few, and has presented over thirty solo performances commissioned by institutions including the Guggenheim Museum and the Smithsonian’s National Portrait Gallery.

Artist, Zanele Muholi

Zanele Muholi (b. 1972, Umlazi) is a visual activist and photographic artist whose documentation of Black lesbian, gay, bisexual, transgender, and intersex people in South Africa is a visual archive for those who are marginalised. Their work represents the diversity of experiences and perspectives within the community, ensuring their identities are never erased.

While Zanele’s self-portrait series Somnyama Ngonyama (Hail the Dark Lioness) explores their own life, the work also explores significant events within South African political history. For example, Thulani II, Parktown (2015) acknowledges the miners killed by police in the 2012 Marikana massacre. Zanele’s activism extends beyond photography; in 2002, they co-founded the Forum of Empowerment of Women, a feminist advocacy organisation for Black lesbians. In 2009, they founded Inkanyiso, a forum for queer visual activist media.

A highly acclaimed photographer, Zanele was shortlisted for the 2015 Deutsche Börse Photography Prize for their publication Faces and Phases 2006-14. Zanele is also an educator; they created Photo XP, a mobile school of photography, and are an Honorary Professor at the University of the Arts/Hochschule für Künste Bremen.

Women’s March, 6 March 1971 © Sally Fraser

Images of Liberation: Sally Fraser’s photography of women’s protest

15 October – 15 November 2021, Opening times TBC
Cohen Quad, Exeter College,
Oxford OX1 2HG

Striking images from photographer-on-the-ground Sally Fraser capture the fiery beginnings of second wave feminism in Britain. On show as part of Photo Oxford, 'Images of Liberation' reveals a hitherto unseen portrait of the first Women's Liberation Conference and landmark equal rights demonstration that followed. Exhibited at Exeter (formally Ruskin) College - the site of this groundbreaking historical moment - the photographs return to the place they were taken, over 50 years ago.

Details of an accompanying online discussion event to be announced soon.

Read more about Images of Liberation

Never before-seen images capture the fiery beginnings of the UK women’s liberation movement in a new exhibition of work by activist photographer Sally Fraser.

On a snowy International Women’s Day in 1971, 4,000 people marched through central London. Inspired by the founding Women's Liberation Conference held in Oxford the previous year, this was the first-ever national demonstration for equal rights and pay for women.

The early history of this movement is celebrated in a fascinating exhibition of photographs by Sally Fraser, who both documented and participated in the protests. Images of Liberation: Sally Fraser’s photography of women’s protest runs as part of Photo Oxford 2021. It will be shown at the site of Ruskin (now Exeter) College, where the founding conference took place in February 1970.

Sally Fraser’s images capture the genesis of second wave feminism in Britain, at a landmark conference in Oxford and on the capital’s streets, a half-century ago. The conference attendees include, among others, leading feminist thinkers and activists Sally Alexander, Sue Crockford, Anna Davin, Annie Freud, Selma James, Juliet Mitchell, Sheila Rowbotham, Michelene Wandor and Audrey Wise, later MP for Coventry South West. The conference creche, run by fathers, shows a youthful Stuart Hall holding a baby. Busts of ‘great men’ in the Oxford Union are humorously covered by scarves, paper bags and banana skins. This subversive creativity is further seen on the Women’s March, where women are dressed for a satirical beauty pageant, and a crucified shop dummy is held aloft, draped with articles of women’s oppression.

The exhibition provides an invaluable record of a key moment in 20th century British radical social history, the launch pad of what Sheila Rowbotham envisaged as 'an entirely new kind of politics'.

About the Artist, Sally Fraser

In the late 1960s Chandan Fraser - then known as Sally Fraser - studied photography at the London College of Printing and became an activist in the city's increasingly politicised scene. She captured images of the emerging movements of which she was part: the huge anti-Vietnam war protests and influential student activism at Hornsey College of Art in 1968. She joined the Tufnell Park women's group and headed to Oxford in 1970 to photograph the inaugural national women's liberation movement conference. A year later, she went on the first International Women's Day march through central London. Some of her images appeared in pioneering journals, notably Black Dwarf and Spare Rib, others featured in the mainstream press, distributed through the Report agency. Shortly after, Chandan Fraser gave up photography. 'I wanted not to be continuously in the observer position. I wanted to be part of it.' She took up her camera again for last year's gathering in Oxford to mark the fiftieth anniversary of the first women's liberation conference. Chandan has never had an exhibition of her work nor a publication reflecting its scope and strength. She lives in France.

Four Corners

Images of Liberation: Sally Fraser’s photography of women’s protest is a Four Corners exhibition, produced in collaboration with Chandan Fraser and Andrew Whitehead. Four Corners is a centre for film and photographic arts, based in East London for nearly 50 years. Our exhibitions explore hidden radical histories of community action and protest, and share stories from the margins that might not otherwise be told.

Dearly Beloved © Jim Grover

Dearly Beloved

Photographs by: Jim Grover

Curation by: Vanessa Winship

15 October - 15 November 2021

University Church of St Mary the Virgin, The High Street, Oxford OX1 4BJ

Opening times: Mondays-Fridays: 9.30am-5pm; Sundays 12-5pm

Dearly Beloved portrays the ministry of 10 women priests in the Church of England through a combination of images and text. The original project was commissioned by the Bishop of Southwark to mark the 25th anniversary of the ordination of women and was first exhibited as Here Am I in the Oxo Gallery on London’s south bank in the summer of 2019, where it attracted 8,000 visitors and national media coverage.

Read more about Dearly Beloved

The ten women priests featured in Dearly Beloved were chosen to represent the wide variety of ministry in the Diocese of Southwark, which embraces south London suburban parishes, prisons, hospitals, and leafy Surrey villages. They were also chosen to reflect a broad range of backgrounds, circumstances and experiences. Jim made the work over the course of 9 months in 2018 and 2019, exploring and documenting each of these women’s distinctive ministries through a combination of photographs and interviews.

The exhibition is presented in the Brome chapel in The University Church of St Mary the Virgin. The exhibition comprises some 32 black and white prints and accompanying text. Around half of the exhibited prints were not featured in the original Here Am I exhibition and so this new curation, coupled with Vanessa’s use of narrative from the women’s testimonials within the body of the exhibition, makes this a fresh and revealing presentation of ministry.

The exhibition poses questions of not only how we perceive each other, but also highlights some of the challenges and struggles these remarkable women face as they each bring something they firmly believe to be of the greatest importance to their respective communities, their ministry.

Exhibition visitors will also be able to buy the exhibition catalogue that accompanied the original Here Am I exhibition.

About Jim Grover

Jim is an award-winning self-taught British documentary photographer. His passion is to use images to tell stories that celebrate daily life, communities and traditions, unsung heroes…and to make the unseen seen. Most of his work is created over the course of many months.

His work has been exhibited in solo shows and covered by national media. Recent exhibited work includes ‘Of things not seen’ (2016); ‘48 Hours on Clapham High Street’ (2017); ‘Windrush: Portrait of a Generation’ (2018); ‘Here Am I’ (2019); and ‘Covid Tales from Tom’s Bench’ (2020). He is currently working on two major exhibitions planned for 2022.

Jim teaches documentary photography at the Leica Akademie.


About Vanessa Winship

Vanessa is an award-winning British photographer who works on long term projects of portrait, landscape, reportage and documentary photography. These personal projects have been in Britain, Western and Eastern Europe and the USA. She now shares her time between photography and teaching.

In 2018 the Barbican Art Gallery in London staged a major solo exhibition of her work, following a major solo exhibition at the Fundacian Mapfre gallery in Madrid. Her work has also been exhibited in the National Portrait Gallery in London and prominently at Rencontres d'Arles in France. In 2019 Tate Britain acquired a collection of her work. This October Vanessa will present a new body of work, inspired by her time on the West Coast of Cumbria, as part of the West Coast Photo Festival in Cumbria.

Her books have been widely acclaimed and include Schwarzes Meer (2007), Sweet Nothings (2008), She Dances on Jackson (2013), Vanessa Winship (2016), And Time Folds (2018), and Sete (2019).

Winship has won several prestigious awards: the HCB award from the Henri Cartier-Bresson Foundation (being the first woman to do so); an Honorary Fellowship at the Royal Photographic Society; and 'Photographer of the Year' at the Sony World Photography Awards.

She is a member of Agence Vu photography agency.


The Pain of Childbirth © Grace Robertson / Picture Post / Getty Images

Moments of Transition: The photographs of Grace Robertson

From 15th October 2021
This online exhibition will be accompanied by two public events, hosted by the Royal Photographic Society in partnership with Photo Oxford

In the mid-1950s, Grace Robertson (1930-2021) was one of the few women photojournalists working for the British magazine Picture Post. This online exhibition presents a selection of her stories for the magazine, reflecting Robertson’s humanistic lens on women’s lives and post-war Britain. While Robertson is often defined by her relationship to Picture Post, the exhibition will also discuss how she sustained her work with photography in later life and her contemporary resonance today.

Curated by Catlin Langford and Helen Trompeteler.

Produced with the support of Getty Images Hulton Archive.

Read more about Moments of Transition: The photographs of Grace Robertson

Grace Robertson (1930-2021) was a pioneering photographer and observer of British life. Her father, Fyfe Robertson, encouraged Robertson’s interest in photography, gifting her a Leica camera when she was 18. Her first submission to Picture Post magazine in 1948 was under the pseudonym Dick Muir, as she did not want to draw attention to her father, a respected journalist for the magazine. Robertson was also acutely aware of her gender, noting at the time that photography was ‘a man’s world.’ Her first submission was rejected, with an accompanying note advising her to ‘persevere young man’. Robertson did persevere, and her first story was published on 12th August 1950.

During the 1950s, Robertson was one of the few female photojournalists working for the magazine. In keeping with the ethos of Picture Post and her values, Robertson focused on documenting everyday lives. She frequently focused on women’s lives at points of transition, from birth to old age, framed within the context of the socially transformative post-war years. Well-known stories such as Mother’s Day Off (1954) illustrate how Robertson gained trust in the communities she photographed, creating intimate and tender portrayals of female kinship. A later story, The Pain of Childbirth (1955), was initially refused for publication by Picture Post. Robertson’s persistence to secure this story’s publication reflected her ardent desire to advocate for all aspects of women’s lives. She later considered this story to be a high point of her career in photojournalism.

Following the collapse of Picture Post in 1957 and the birth of her first child, Robertson retrained as a primary school teacher while continuing to pursue photography personally. Resuming her formal photographic career in later years, she lectured widely on photography. In 1999, she used her award from the Wingate Scholarship to focus on her project ‘Working Mothers in Contemporary Society’. Her inclusion in the Channel 4 Television series Five Women Photographers (1988) led to a renewed interest in her work. This interest was partly informed by a new wave of feminist art history scholarship. Subsequent major exhibitions included a touring exhibition launched at Zelda Cheatle Gallery in 1990 and the retrospective exhibition Grace Robertson: A Sympathetic Eye at the University of Brighton in 1995.

Today, issues of gender and class continue to create bias and prejudice in contemporary photography and thus Robertson’s investigations of these themes and her perseverance to sustain a life in photography have contemporary resonance. This exhibition seeks to honour Roberton’s pioneering photography and legacy.

Curated by Catlin Langford and Helen Trompeteler

Produced with the support of Getty Images Hulton Archive

About the Curators:

Catlin Langford is the inaugural Curatorial Fellow in Photography, supported by the Bern Schwartz Family Foundation at the Victoria and Albert Museum, London. She is presently working with the V&A’s autochrome collection, which will inform an upcoming publication with Thames & Hudson/V&A. Langford was previously Assistant Curator at the Royal Collection Trust, where she specialised in nineteenth-century photography. She completed her Masters at the Courtauld Institute of Art in 2016, focusing on the curation of vernacular photographs.

Helen Trompeteler is a curator and writer specializing in photography. She is a committed advocate for the civic role of special collections as catalysts for contemporary dialogue and cultural exchange. Helen has eighteen years of experience leading exhibitions and partnerships for internationally significant collections, including the Royal Collection (2016-20) and the National Portrait Gallery, London (2002-16). Further roles include board member of Four Corners (2017-present), the Museums Association Transformers leadership program (2018-2019), and the Josef Breitenbach Research Fellowship at the Center for Creative Photography (2016).

"Crowds at Bouley Bay" Made in 2020-21 Digital photographic composite. ©Teresa Williams

Not many people here yet

Open daily 10am - 7pm from 11th October - Friday 10th December 2021
Wolfson College, Linton Road OX2 6UD

Visitors are advised to telephone the college lodge on (01865) 274100 before visiting
No need to call in advance on Sundays 10am - 7pm and Monday 12 - 7pm during the festival period, 15 October -15 November

This exhibition is a playfully nostalgic unveiling of friendship and shared experiences across time. Set along the coastlines of Dorset and Jersey and based around the two central characters of Milly and Lily from a found photo album, the series places people together who are connected by place, disconnected by time.

It is a story of journeys before and during a time when the world’s travel stopped.

Read more about Not Many People Here Yet

Three large scale digital composites place crowds of people (including the artist) in the same place as the two women, each with a different narrative. Original photographs sit alongside them, some of which have been disrupted through embroidery and collage, emphasising characters through portraiture.

The process of making the digital pieces was intricate. Search engines were used to find and appropriate contemporary images taken where Milly and Lily had visited. Screenshots, digitally edited and seamlessly blended together were made to look painterly. Props photographed at home were placed in front of people’s faces, in their hands, at their feet - symbolisms of mystery and disguise. (In real time we were all having to adjust to face coverings and everything represented by that.) Some of the masks were made from newspaper cuttings from 2020, and although randomly chosen, words such as ‘pausing’, ’quarantine’ and ‘virus’ are easily visible. The paper itself represents fragility, communication and knowledge.

The project involved research conducted from home during the UK’s first lockdown. Maps of the regions were examined and re-drawn so that the women’s footsteps could be retraced. Primary and secondary characters in the century old photo album were researched, although it proved almost impossible to trace them effectively. Vintage postcards sent from Lyme Regis in Dorset and Bouley Bay, Jersey were purchased, with messages on their backs (smooth flight, very few people are here yet, would you like a pair of black elephants, tomorrow will be a rest day), providing inspiration (and the title) for the work.

From a stormy coastline to surrealism, from umbrellas to a zebra, from paddle-boarding to roses on the beach, from 1929 to 2021, this work is all at once a time capsule, a social commentary, and a fictional tale. The large scale and smaller sized images invite the audience to look from different perspectives - in the same way that any good story should.

About the Artist:

Teresa Williams is a visual artist who makes multi-layered stories with photography at their core. With an MA in Photography from Falmouth University (2019) and an Associate of the Royal Photographic Society (ARPS), she has been selected to exhibit both in the UK and internationally.

Her work, often playful, explores and reimagines the ordinary. She intervenes with the image, layering to weave threads that are literal and metaphoric. She works with both digital and physical methods of image making.

Interested in the stories behind found photographs, Teresa investigates, reimagines, and places them into contemporary settings; repurposing photographs giving her creative freedom to reconnect narratives fractured by the passing of time. In this way she blurs boundaries between fact and fiction.

Hub’, a series of digital composites, was made to celebrate the 50th anniversary of Northamptonshire Music and Performing Arts Trust. It was shown at the Derngate Theatre, with one of the images selected for inclusion at the #EveryDayDoraMaar UNIQLO Tates Lates display at Tate Modern in January 2020.

‘Topple’ and ‘Erosion’ (both 2020) were selected for RevoltReviveRekindle online exhibition and postcards book in collaboration with NN Contemporary Art, June 2021; and Impressions, Hub, & other selected works are exhibited at Boughton House, Kettering during August 2021.

Over the last eighteen months Teresa has made a collection of collage images inspired by current global situations, as well as more personal photographs ‘straight out of the camera’. She has also participated in online workshops as well as leading some in book making. She is a core member of The Visual Art Collective (an international postal collaboration with other artists).

Free Flap © Caroline Seymour.

Plastic Theatre

15 October - 15 November 2021
Opening times to be confirmed
Stanford House, 65 High St, Oxford OX1 4EL

Neither a medic nor an official medical photographer, Caroline Seymour was given unprecedented access to the operating theatre in which Mr Peter Kalu, a plastic surgeon at the John Radcliffe Hospital, Oxford, specialises in a procedure called 'free flap breast reconstruction'. During the course of several eight-hour long surgeries she took hundreds of photographs, some of which will be shown at Stanford House during the festival.

Read more about Plastic Theatre

The following extract is from a short text that the artist, Caroline Seymour, has written to accompany the exhibition:

"You’re in the ante-room to the operating theatre, lying on the trolley, prepared for the operation. The anaesthetist is standing by your side, talking to you gently, humorously, according to your disposition and inclination, easing you into oblivion. They are the last person you see or hear before you disappear to yourself (‘go to sleep’ is the euphemism used, but, of course, you’re far beyond sleep, in an iatrogenic coma, and although your body is cut open then stitched up, you will not wake until they judge it safe for you to do so) and the first person you see on your return to consciousness. In the meantime, in a timeless time, the show has gone on without you noticing it. Despite your centrality to it you are fundamentally absent from this performance, while being worked on by not just the surgeon but a whole team: the registrar (assistant surgeon), a handful of specialist theatre nurses, maybe a medical student or two, and watched over throughout by the anaesthetist, your guardian angel."

These photographs show what happens during the operation. You will see many images of hands, surgical instruments, the inside of a body. A pool of light falls on the part of the patient's body being worked on, the hands move within it, creating an endlessly beautiful and fascinating dynamic, white-gloved against the surrounding darkness like the hands of a mime artist. Surgery itself means 'hand-work' from its origin in Ancient Greek. It’s all about the hands: performing the surgery, handling the body and tissue removed from it, passing the instruments then sorting them afterwards.

The high contrast silver gelatin prints convey something of the intensity of their subject.

About the Artist

Caroline Seymour processes her films and makes prints in her darkroom in Oxford. She also works within the field of medical education at Oxford and Cambridge Medical Schools. She studied History of Art at the Courtauld Institute and Chelsea Art School. She is currently trying to finish writing a novel.

WaterLily © Keiko Ikeuchi

Water Lily: Dance of Darkness

15 October - 15 November 2021
Open: Mon, Tues, Wed 5-6pm; Thurs, Fri, Sat 3.30-5.30pm
W Lucy Room (1st floor) Oxford Playhouse, OX1 2LW
Find out more

Water Lily is a photographic series by Oxford-based photographer Keiko Ikeuchi featuring Kazuo Ohno (1906-2010). Ohno was a celebrated pioneer of Butoh, an avant-garde form of dance theatre which is often described as the ‘Dance of Darkness’. Keiko captures the dancer’s physical expressions and gentle movements as they contrast in unexpected ways with his striking appearance.

Read more about Water Lily: Dance of Darkness

Water Lily is a photographic series featuring Kazuo Ohno (1906-2010) who was a celebrated pioneer of Butoh, an avant-garde form of dance theatre which is often described as the ‘Dance of Darkness’. The series was photographed in the 1990s when Kazuo Ohno was in his late 80’s. He is dressed as a maiden in a set that appears to represent a kind of purgatory. Keiko captures the dancer’s physical expressions and gentle movements as they contrast in unexpected ways with his striking appearance.

The title 'Water Lily’ is taken from one of Kazuo Ohno’s performance pieces, 'Water Lilies’, which was inspired by Claude Monet’s famous series of paintings.

Keiko was born and raised in Japan and moved to England to study Visual Communication. After graduation, she spent many hours in the darkroom working as a fine art and archival B&W printer. During this time, her early fascination with the body as a subject for photography developed to include the capture of human movement and portraiture. Her collaborations with dancers and dance organisations launched her career as a photographer and graphic designer.

Keiko lives and works in Oxford. She is a recipient of the Patrick Litchfield Award from the BIPP (British Institute of Professional Photography) and is a past winner of the Professional Photographer Magazine Portrait Competition.

The exhibition consists of 15 B&W silver gelatine prints on fibre-based papers.

© Carla van de Puttelaar, 2006

Light Touch
Carla Van de Puttelaar

Dates and location to be confirmed

The photography of Carla van de Puttelaar allows the eye to touch the skin on many levels. Through her lens, she makes the viewer aware of its sensitivity and sensuality.

Van de Puttelaar graduated from the Rietveld Academy in 1996. and has won several prizes. Her work has been exhibited worldwide, entered various collections internationally, and has been published in a series of seven monographs.

Read more about Light Touch

The photography of Carla van de Puttelaar allows the eye to touch the skin on many levels. Through her lens, she makes the viewer aware of its sensitivity and sensuality, examining it in detail, at the same time fully aware of the importance of the shapes that the skin envelopes. Those shapes are outlined and accentuated by a black background, a key feature of Carla’s work. The female body has long been her main subject, and since late 2015 she has regularly worked with two or three models at the same time, exploring new types of compositions. In the last decade, she has successfully begun to examine the skin and texture of flowers, particularly those on the brink of fading, as well as the barks of trees. In those subjects, she has discovered a similar fascinating sensitivity and sensuality as in her female models. Natural light is one of Carla van de Puttelaar’s most important tools and assets. She allows it to play on and around her subjects and then catches it at its most seductive appearance and from that moment on, it is captured for posterity.

Carla van de Puttelaar graduated from the Rietveld Academy in Amsterdam in 1996. Since then, she has won several prizes. Her work has been exhibited worldwide, entered various collections internationally, and has been published in a series of seven monographs. In 2016 Carla van de Puttelaar created The Rembrandt Series in collaboration with the Rembrandt House Museum in Amsterdam, which also organized an exhibition of this series in the spring of 2016, alongside their exhibition on Rembrandt’s Nudes. Led by her keen interest in portraiture, she created in 2017 a new and timely series devoted to prominent and promising women in the art world, Artfully Dressed: Women in the Art World with biographical information and interviews (www.womenintheartworld.com). The concept of this project is to shine a light on the many talented women in this field - to showcase their accomplishments, intelligence, power, and beauty. To date, this important, ongoing series includes around 500 international women from a wide range of cultural backgrounds, nationalities, ages, and professions. In 2020, the Musée national d’histoire et d’art in Luxembourg staged a first retrospective exhibition of Carla’s work, accompanied by a lavish catalogue. In addition to being a renowned photographer, Carla has earned a PhD in art history (2017). Her seminal book on Scottish Portraiture 1644-1714 will be published in the autumn of 2021.

About the Artist:

Carla van de Puttelaar (1967, Zaandam, The Netherlands) lives and works in Amsterdam. In 1996, she graduated from the Gerrit Rietveld Academy in Amsterdam. In the same year she was awarded the Esther Kroon Prize, and in 2002 she won the Prix de Rome Basic Prize. Her photographic work has gained worldwide recognition, and she has exhibited in numerous museums and galleries around the world. In 2020 she had four solo shows including a retrospective show entitled: Brushed by Light, Musée national d’histoire et d’art in Luxembourg and a solo show at The Fox Talbot Museum, National Trust, Lacock. Her work has appeared in many publications including seven monographs. Carla works for internationally acclaimed magazines and publishers such as The New York Times Magazine, The New Yorker, and Random House. Her work is present in many international public and private collections. Carla has taught Photography at the Royal Academy of Art in The Hague and in 2017 earned a PhD in art history. Carla has been a Jury member for various art contests, such as the World Press Photo Contest and the Dutch Portrait Award. In 2019 five portraits from the Women in the Art World series were acquired by The National Portrait Gallery in London through a generous grant from the Bern Schwartz Family Foundation.

© Mari Mahr

Photography & The Book

Every Saturday 10-4 and Sundays by appointment - details to follow

Mari Mahr and Joanna Vestey’s work will be shown alongside a curated collection of books and a screen display that presents the work of 6 women photographers who have each made work that explores this theme. Both media have long rich histories with Oxford dating back to their earliest moments of inception.

Curated by Joanna Vestey and Caroline Howlett.

Read more about Photography & The Book

Photographers have had a long lasting fascination with both the spaces and objects of academia. British photography pioneer, William Henry Fox Talbot, at the medium’s very inception, focused his lens squarely on the University of Oxford making several trips to the city between 1843 and 1846. It was with an image of the Queens College, Oxford that he chose to open his seminal book, The Pencil of Nature (1844), later including in it an image showing a collection of books on a shelf titled, A Scene in A Library, which further secured this relationship. Exploring the role of women and photography at this time reveals that the first photographically illustrated book was made by a woman, British photographer Anna Atkins who published Photographs of British Algae: Cyanotype Impressions in 1843.

Photography and the Book, is an exhibition that explores the work of 6 contemporary female photographers whose practices continue to make connections between photography and the book. Mari Mahr and Joanna Vestey will show work that will be supported by books and a screen presentation showing Chloe Dewe Mathews series, ‘In Search of Frankenstein’, Candida Höfer’s Libraries work, Dayanita Singh’s, Museum of Chance, along with Tomoko Yoneda’s, Between Visible and Invisible,

The book has a rich history in Oxford, which can be traced back to the earliest days of printing, two years after William Caxton set up the first printing press in England the first book was printed in the city in 1478. Oxford has more than 100 libraries and has provided the setting for over 500 books.

Nak Bejjen by Khasija Saye, 2018

Dwelling: In This Space We Breathe by Khadija Saye

Monday 30 August 2021 – Wednesday 31 August 2022
Pitt Rivers Museum, Oxford OX1 3PP

An exhibition of nine stunning silkscreen prints by the Gambian-British artist, Khadija Saye (1992-2017), exploring her fascination with the ‘migration’ of traditional Gambian spiritual practices’ that formed a part of her childhood experience growing up in London with Gambian parents. Acknowledged as a hugely talented and promising artist, both Saye and her mother were tragically killed in the Grenfell Tower fire in London in 2017.

Read more about Dwelling: In This Space We Breathe by Khadija Saye

This exhibition presents a series of nine silkscreen prints by artist Khadija Saye (1992-2017) exploring her fascination with the ‘migration of traditional Gambian spiritual practices’ that formed a part of her childhood experience growing up in London with Gambian parents.

In the images, Saye uses ritual objects, such as amulets, beads and horns, to explore her connection to these spiritual practices as a member of the African diaspora, as well as how ‘trauma is experienced in the black experience’.

The series also explores what Saye calls ‘the deep-rooted urge to find solace in a higher power’ in differing cultures. Saye herself was of mixed religious heritage, both Christian and Muslim.

Tragically, Saye and her mother Mary Ajaoi Augustus Mendy were killed in the Grenfell Tower fire of 14 June 2017. Later that year, Saye’s photographs were exhibited in the Diaspora Pavilion at the 57th Venice Biennale, and she was widely regarded as an artist of great talent and promise.

The prints exhibited here were produced from scans of the artist’s original tintype photographs. Tintypes are an early form of photograph, popular from the 1860s, created by exposing a negative image onto a metal surface coated with emulsion with a dark background so as to appear positive.

Khadija Saye was an inspirational artist whose social and political awareness led her to support issues of social justice and educational opportunity. The Pitt Rivers Museum has acquired this set of prints as a permanent tribute to the artist and her values, and exhibits them here to bring them into conversation with many displays in the Museum that relate to the themes she explored.

© The North Wall ArtsLab - Fourteen (Exhibition) - 14 Cameras

ArtsLab: Fourteen

Tue 09 – Sat 13 Nov 2021
The Gallery at The North Wall, The North Wall Arts Centre, OX2 7JN and online

Oxford-based photographer, Philippa James (100 Women Of Oxford), works with thirteen talented local female photographers - members of The North Wall's ArtsLab early-career visual artists programme - to develop ideas and new work.

This exhibition uses the number '14' as its catalyst and is curated by the group to include one final work by each artist. More works by each artist can be seen in an online exhibition for the duration of Photo Oxford Festival 2021.

Read more about ArtsLab: Fourteen

The North Wall's ArtsLab programme exists to create opportunities for early-career artists and this year, for the first time, is supporting visual artists. A group of thirteen talented local female photographers have been working together to develop ideas and new work, facilitated by artist Philippa James.

This exhibition uses the number '14' as its catalyst and is curated by the group to include one final work by each artist. More works by each artist can be seen in an online exhibition for the duration of Photo Oxford Festival 2021 (15 Oct – 15 Nov 2021).

Philippa James is a portrait photographer based in Oxford, UK. Her interests and work explore women and feminism, the underrepresented, and her local community. Her major body of work, 100 Women Of Oxford, exhibited at The North Wall during Photo Oxford Festival 2020. She is currently a Propeller Artist at The North Wall Art Centre. She has exhibited at Arts at The Old Fire Station, The Gallery at The North Wall, Ark-T Art Centre, Tap Social Movement (International Women's Day) and The Jam Factory Arts Centre.

The Propeller programme provides practical support for the development of exciting new work that begins its life in Oxfordshire. We support brilliant companies and artists in the region who deserve to have their work seen by a wider audience: thenorthwall.com/artslab

Portrait of an Artist as an Old Man, Past, Present, Future ©Mirja Maria Thiel

Portrait of an Artist as an Old Man

Details to follow

In her series Portrait of an Artist as an Old Man Mirja Maria Thiel tells the life of Fritz Dressler (1937-2020), a former professional photographer and university professor, who suffered from Alzheimer’s the last years of his life. Photographed over the course of more than two years, the series is completely committed to the emotional reality of the charismatic protagonist.

Read more about Portrait of an Artist as an Old Man

The series, Portrait of an Artist as an Old Man by Mirja Maria Thiel, tells the life of Fritz Dressler (1937-2020), a landscape and architectural photographer who suffered from Alzheimer’s the last years of his life. He also was formerly Professor of Photography and »Moving Images« at the University of the Arts in Bremen. We met on the occasion of a photofestival that took place in the artist village of Worpswede in Northern Germany, where Fritz resided for more than 40 years. He was known for his influential and creative personality that - despite his dementia - had left him a charming and deeply expressive character when I got to know him. Fritz became my headstrong longterm-documentary’s subject. He found immense pleasure and pride in himself by falling back on taking pictures himself. It had a meaning-giving quality for him then. When he was no longer able to call his illness by its name, he sometimes resignedly acknowledged, »Actually, I don’t know anything anymore.« But his self-awareness – as someone who saw himself as an artist and thus preserved his presence – stayed alive: »I am not dead, I’m still walking!

In my free work, which began in September 2016, I am completely committed to the emotional reality of the charismatic protagonist: his intensity, vulnerability and resilience define the portraits of his soul. Alzheimer’s is one of the great health challenges of our time. This story gives the affected protagonist a voice and intends to inspire a compassionate dialogue in society about issues concerning respect towards and participation and empowerment of people affected with Alzheimer’s and dementia.

About the Artist:

Born in Hamburg in 1971, Mirja Maria Thiel is a German photographer with a background in literature whose approach to photography is rooted in the fascination for storytelling as a means of rising to challenge, living with change and showing compassion with humanity’s and her own vulnerability.

"During my four-year-stay in Switzerland, I rediscovered my delight in photography while documenting my three young children. Aged 42, I decided to study Photojournalism and Documentary Photography in Hanover, Germany. As a visual author I feel indebted to the documentary tradition, but at the same time I pursue a subjective and modern approach through in-depth-engagement with my subjects. So far, my long-term work focuses on the elderly: the impact of Alzheimer’s disease on the emotional landscape of caregivers in Farewell Sonata and the affected individual in Portrait of an Artist as an Old Man. The series All This Love explores eroticism in old age couples."

'Iron Based Photography' © Megan Ringrose 2021 (unique) Walnut frames

Fabric of Photography: A Material Matter

15 October 2021-13 November 2021

The exhibition focuses on the work of contemporary photographic artists who are increasingly inspired by the pioneering historical processes and physicality of photography. These artists strip back photography to its absolute fundamental elements: material, light, and process. They explore the ‘thingness’ of photography.

Four artist led workshops are also available to book: Visit our Events Page for more details

Read More about Fabric of Photography: A Material Matter

Fabric of Photography:
A Material Matter

15 October -13 November 2021, Tuesdays to Saturdays
10am - 4pm
Arts at the Old Fire Station, George Street, Oxford
Please note the gallery will be to closed to the public on Saturday 17 October from 1.00pm

The exhibition, curated by Megan Ringrose, focuses on the work of contemporary photographic artists who are increasingly inspired by the pioneering historical processes and physicality of photography. These artists strip back photography to its absolute fundamental elements: material, light, and process. They explore the ‘thingness’ of photography.

Supported by Arts Council England.The exhibition brings together artists who are interested in the fundamentals of photography especially with regards to historical methods and thinking about photography within a fine art context. They explore the materiality of the photograph through experimentation with analogue photographic techniques in particular. They are mindful of material redundancy and the need to reconnect to old processes to create new contemporary works.

Photography has traditionally been a medium of faithful representation. This exhibition explores the movement within photography from representation to abstraction. We view an image and its subject and then analyse the surface and its objectivity. This analysis or awareness of surface/material forces the viewer to consume photography at a slower pace perhaps to question the definition of photography. The artists in this exhibition are all pushing the boundaries of photography the medium. They ask ‘What is a photograph in the 21st Century’

‘Contemporary art photography has become less about applying a pre-existing, fully functioning visual technology and more concerned with active choices in every step of the process. This is tied to an enhanced appreciation of the materiality and objecthood of the medium that reaches back to the early nineteenth century roots of photography.’

Cotton .C (2014) The Photograph as Contemporary Art .London: Thames and Hudson.

There are four artist led workshops (Cyanotype, Anthotype, Chemigrams and Phytography) planned throughout October - November to deliver learning experiences that will be directly related to the work exhibited. Please visit our Events Page to find out more.

Featured Artists:

Neil Ayling

John A Blythe

Sylvie Bonnot

Ellen Carey

Alice Cazenave

Karel Doing

Nettie Edwards

Hannah Fletcher

Anna Luk

Rita Rodner

Megan Ringrose (Curator/Artist)

Kateryna Snizhko

Helen Messinger Murdoch, Photographer and children,1914, autochrome, V&A, RPS.576-2020, The Royal Photographic Society | Collection at the V&A, acquired with the generous assistance of the National | Lottery Heritage Fund and Art Fund.

Women and Early Colour Photography: An Autochrome Trail

15 October - 15 November 2021: Multiple venues, see below for details.

This trail celebrates women’s contribution to early colour photography through the work of three innovative photographers: Sarah Angelina Acland, Helen Messinger Murdoch and Etheldreda Janet Laing. It will feature autochromes from the collections of the V&A, History of Science Museum, and National Science and Media Museum, and draws on the Bodleian Libraries’ collection.

The trail map will be accessible online, and will also be available in print at multiple locations in Oxford.

Read more about Women & Early Photography: An Autochrome Trail

Sarah Angelina Acland, Helen Messinger Murdoch and Etheldreda Janet Laing are united in their production of autochromes, the first commercially available and accessible colour photography process, released in Britain in 1907. Acland, Murdoch and Laing overcame the difficulties of the process, which included long exposures, to produce photographs that capture their surroundings in colour, including travels abroad, and provide an insight into their understandings of the world. Selected autochromes by Acland, Murdoch and Laing will be reproduced in windows throughout Oxford, guiding visitors to sites associated with the Photo Oxford Festival, including the Weston Library, as they learn more about the photographers’ lives. The trail features autochromes from the collections of the V&A, Museum of Science History and National Science and Media Museum and draws on the Bodleian Libraries’ collection. The trail map will be accessible online, and will also be available in print at multiple locations throughout Oxford. Please refer to the Photo Oxford website for more information:

About the curator:

Catlin Langford is the inaugural Curatorial Fellow in Photography, supported by The Bern Schwartz Family Foundation at the Victoria and Albert Museum (V&A). She is currently researching the V&A’s significant collection of autochromes which will form the basis of an upcoming publication with the V&A/Thames & Hudson. She has held positions at the Royal College of Art, Guildhall School, Royal Collection, Witt and Conway Libraries and the National Trust of South Australia. She completed her MA at the Courtauld Institute of Art in 2016, focusing on the curation of vernacular photographs.

Multiple venues, check website for details:

  • Weston Library, Broad Street, OX1 3BG

  • Blackwell’s Art & Poster Shop, 27 Broad St, Oxforad OX1 3BS

  • Oxford Playhouse,11-12 Beaumont St, Oxford OX1 2LW

  • Cohen Quad, Exeter College (formerly Ruskin College), Walton Street, OX1 2HG

  • Arts at the Old Fire Station, 40 George Street, OX1 2AQ - entrance also on Gloucester Green

  • Old Bank Hotel, 92-94 High St, Oxford OX1 4BJ

  • Sanders of Oxford, 104 High St, Oxford OX1 4BW

  • Oxford Covered Market (entrances on High St & Market St), OX1 3DZ

Aida Makoto, Uguisudani-zu, 1990 – Private Collection © Aida Makoto, courtesy the artist and Mizuma Art Gallery

Tokyo: Art & Photography

29 July 2021–3 January 2022
Ashmolean Museum, Oxford
Admission: £6–£13.50

This exhibition is a celebration of one of the world’s most creative, dynamic and thrilling cities. Explore Japan’s capital city through the vibrant arts it has generated over 400 years. It features a wide variety of artworks created in a metropolis that has constantly reinvented itself. Highlights include contemporary photographs by Moriyama Daido and Ninagawa Mika, historic folding screens and iconic woodblock prints, video works, and pop art.

With new commissions by contemporary artists, loans from Japan and treasures from the Ashmolean’s own collections, the show provides a fascinating insight into the development of Tokyo into one of the world’s most important cultural hotspots.

Read more about Tokyo: Art & Photography

Dr Xa Sturgis, Director of the Ashmolean, says: ‘ With its tumultuous history and extraordinarily rich artistic output, Tokyo is one the most exciting cultural hotspots on the globe. In showcasing this exceptional range of artworks from the 17th century right up to pieces made in 2021, and precious works on loan from Japan, the exhibition promises to be a thrilling and unusual insight into Tokyo, one of the most interesting cities in the world.’


The exhibition is curated by:

Dr Lena Fritsch, Curator of Modern and Contemporary Art, Ashmolean Museum
Dr Clare Pollard, Curator of Japanese Art, Ashmolean Museum
The exhibition is made possible thanks to:
Lead support from The Shikanai Foundation
Principal support from The Ishibashi Foundation and additional support from The Tokyo Exhibition Circle

Publication: The exhibition is accompanied by a fully illustrated catalogue, £25 available at the Ashmolean or online

© Marcia Michael

Hatched 2021:
Women Creating Landscapes

Thursday 4 November 12- 8 pm, Friday 5 November 12-6pm, Saturday 6 November 12-5pm

OVADA Gallery

The HATCHED2021 exhibition at OVADA brings together the practices of local and international lens-based artists. Collectively these artists voice the multiple aspects of gender inequalities: reproductive rights, gender-based violence, and trafficking. This work is shown alongside artists whose attention is closer to home. The tender look at motherhood, an exploration of complex family experiences. Personal and global they share an intimate female gaze.

Read more about Hatched 2021

HATCHED is a creative platform promoting and sharing work addressing women’s issues and experiences that range from ‘The personal is political' to Human Rights. HATCHED was set up in 2016 by Maga Esberg and has been part of the Oxford International Women's Festival since then.

2020-2021 has brought challenges to all; the COVID-19 pandemic, Brexit, and the pressure of climate change on the environment. However, a girl born in late 2021 will automatically join the ranks of the 4 billion females worldwide whose daily reality is shaped by gender inequality in one form or another.

The Women Creating Landscapes exhibition at OVADA brings together the practices of local and international lens-based artists. Collectively these artists voice the multiple aspects of gender inequalities: reproductive rights, gender-based violence, and trafficking. This work is shown alongside artists whose attention is closer to home: a tender look at motherhood, an exploration of complex family experiences. Personal and global they share an intimate female gaze.

The artists in HATCHED2021 aim to be part of the ongoing dialogue on equality, to communicate their concerns, and to make a positive difference. These works don't stand alone; they are part of a bigger movement of women globally intent on being heard and seen.

Agnese Mūrniece’s video 'Bivouac' is inspired by childhood memories and social movements in Latvia. Alice Brookes’s video ‘Three weeks in Lockdown’, 2020 was inspired by Suzanne Lacy's project, Three Weeks in May 1977. Alison Kahn and Avi Zhimo explore ‘The Secret Museum of Anthropology’ published in 1935. Beatrix Haxby’s video ‘The Mutinous-Feminine’ is part gymnastics performance, part examination of beauty. Fiona Yaron-Field’s series ‘Belongings’ explores the surviving mementos from trafficked women. Gaby Venus’s triptych ‘Cathy, can you hear me?’ looks at absence, homelessness, and family dynamics. Jenny Wylie looks at the ubiquitous work of Margaret Calvert. Karen Toro’s ‘It is law’ looks at women's rights and freedom in Ecuador. Maga Esberg’s series ‘Barbe bleu’ looks at the impact of patriarchy from an oblique angle. Marcia Michael’s ‘Before Memory Returns’ is a series of self-portraits reflecting varying emotions heightened at night, in solace. Maryam Majd is a photojournalist and women’s rights activist based in Tehran specialising in women's sports photography. Miranda Gavin uses photography, text, and film to create work that embraces experimentation, often focusing on themes of love, abuse, and betrayal. Mita Vaghela’s practice centers on questioning her social heritage and the value of the female in Hindu culture. Nia Walling’s exploration is seated in the politics of ecofeminism and menstrual reclamation. Rosie Barnes’s ‘No You’re Not’ is a portrait project about autistic women. Sarah Lawton’s film portrays a journey into motherhood from an extremely high-risk pregnancy, throughout NICU and beyond. Susan Andrews considers her relationship with her mother and the strange collection of objects that have travelled through time to connect them. Yara Richter’s no-budget poetry short film 'Tired of Trees?' depicts a young, black mother’s experience of the first COVID-19 lockdown in a German suburb.

About the Curator:

Maga Esberg is a visual artist, tutor and curator based in the UK. She set up HATCHED as a creative platform to share work addressing women’s issues and experiences that range from ‘The personal is political' to Human Rights. HATCHED has been exhibiting as part of the Oxford International Women festival since 2016 at the North Wall gallery, the Jam Factory, Common Ground working space and Freud in Oxford.

© Nancy Sheung | Staircase, 1960s

Line and Texture: The photography of Nancy Sheung (1914-1979)

15th October - 15th November 2021
Hamlin Gallery, St Hugh’s College

Nancy Sheung (1914-1979) was born in China before moving to Hong Kong. She took up photography in 1958 and evolved her own style away from traditional pictorial photography to one that was in keeping with the mood of the 1960s and 1970s. Her work emphasises strong lines and patterns, and she frequently centres her camera on female subjects. The exhibition has been curated by Dr Michael Pritchard with the support of the Estate of Nancy Sheung.

Presented in partnership with the Confucius Institute at Oxford Brookes University and St Hugh's College.

Read More about Nancy Sheung

Born in Suzhou, China, in 1914 to a well-to-do family Sheung Wai-chun, known as Nancy, moved to Hong Kong in the 1940s. A strong, determined, women, she successfully established her own business in construction and architecture. When Hong Kong’s economy fell into recession she had time on her hands and, after seeing an exhibition of European photography in 1958 she turned to it as an amateur.

As with her professional career, she took it seriously, studying with local photographers, building her own darkroom and entering competitions and exhibitions. She evolved her own style away from the traditional pictorial aesthetic that was common at the time, to one that was contemporary and more in keeping with the mood of the 1960s and 1970s. Her work emphasises strong lines and patterns, and she frequently centres her camera on female subjects.

Nancy was practicing photography when it was dominated by men. Undeterred, she joined the Royal Photographic Society in 1965 and gained her Fellowship in 1971. She regularly exhibited in the RPS’s exhibitions. She joined the Photographic Society of Hong Kong in 1966 where she quickly made her mark becoming its Vice President in the 1970s. She died while printing in her darkroom in 1979.

This new exhibition, especially curated for Photo Oxford, looks at Nancy’s progression from pictorialism to her later work, documenting through her modern approach Hong Kong’s architecture, buildings and landscape.

It has been curated by photographic historian Dr Michael Pritchard, Director of Programmes at the Royal Photographic Society, and with the support of the Estate of Nancy Sheung.

About the Curator

Dr Michael Pritchard is a photographic historian and the Royal Photographic Society’s Director of Programmes. He edits the British photographic history blog and has broadcast and written extensively on photography and its history.

Confucius Institute at Oxford Brookes - Introduction

A non-profit collaboration, the Confucius Institute at Oxford Brookes University (CIOBU) is the first Confucius Institute in the world co-established by a university and a publishing company in China (Foreign Language Teaching and Research Press). Publishing is the specialist focus of CIOBU, making CIOBU a unique presence among all the Confucius Institutes around the globe. In April 2016, CIOBU officially opened its doors and began working toward promoting Chinese language and culture, as well as offering publishing-related activities. CIOBU commits to aiding co-operation between Chinese and UK publishing whilst encouraging Chinese Language Teaching (CLT) or China-related activities.

© Elisa Moris Vai

Catherine, Kiambé, Surya

15 October – 15 November

Monday-Friday: 9am - 5pm

Saturday: 11am to 5pm

Open from 11am to 5pm Sunday the 17th of October (opening weekend)

Maison Française d’Oxford

‘Catherine, Kiambé, Surya’ is a body of work by French emerging artist Elisa Moris Vai. Curated by Pelumi Odubanjo, this solo show introduces the artist’s photographic response to three female characters in La Quarantaine (1995) and Révolutions (2003), novels set in Mauritius, by Nobel Prize-winning writer J.M.G. Le Clézio. The exhibition is supported by Fluxus Art Projects.

Women, Memory & Transmission: Postcolonial Perspectives from the Arts and Literature, the associated international, interdisciplinary conference at Maison Française d’Oxford on 18 October, is convened by the artist Elisa Moris Vai and researacher Justine Feyereisen. It is supported by TORCH as part of the Humanities Cultural Programme. See here for conference details and bookings.

Read about Catherine, Kiambé, Surya

‘Catherine, Kiambé, Surya’ is a body of work by French emerging artist Elisa Moris Vai. Her reading of La Quarantaine (1995) and Révolutions (2003), two novels by Nobel Prize-winning writer JMG Le Clézio, set in Mauritius, led to her attachment to three female characters: Catherine, who comes from a French colonial family; Kiambé, a formerly enslaved woman who escaped; and Surya, the grand-daughter of an Indian indentured labourer.

Moris Vai’s work considers the ways in which their lives relate to those of the women who built Mauritius. She went to Mauritius to follow their paths, shooting with an analogue-based, medium-format camera.

Curated by British curator Pelumi Odubanjo, this exhibition is the first solo show of the artist and will propose an immersive design, allowing the viewers to step into the story and imagine a visual storyboard of the lives of the women, revolutionaries and activists who built Mauritius to this present day.

A text written by Dr Feyereisen, Senior Postdoc Fellow in Postcolonial and French studies (University of Ghent) will accompany the images.

Located at the Maison Française d’Oxford and supported by Fluxus Art Projects and TORCH as part of the Humanities Cultural Programme, this exhibition is the result of a vivid French and British cooperation.

About the Artist

Elisa Moris Vai (1988) is a French emerging artist based in Lille (FR) who, working with lens-based media, produces research-driven work,. Her practice is characterized by the inventive use of performative strategies and the intersection of documentary and fiction. History, identity, and social representations are at the core of her work, with a current focus on French colonisation. Moris Vai was awarded the Panel’s choice of the Photo Oxford Open Call 2020 and was shortlisted for the Open 20 Solo Award of Photofringe festival, Brighton.

Her work has been shown in venues across Europe (Noorderlicht festival (NL), Photofringe festival (UK), Ovada Gallery (Oxford, UK) and Les Passerelles art center, Pontaut-Combault (FR)). Her profile has been featured recently in Photomonitor and The Guardian.

Moris Vai extends her art practice to curating conferences relating to the themes she explores. In 2020-2021 she worked in the UK with Photofringe Festival and Grain Photography Hub.

She has an MA in Performing Arts (Free University of Brussels / Free University of Berlin) and a BA in Photography (EFET School of Photography, Paris).

About the Curator

Pelumi Odubanjo is a London-based multidisciplinary artist, curator, writer, and researcher. Interested in contemporary vernaculars around image-making, her work is informed by a decolonial black feminist epistemology. Pelumi works with artists, archives, and cultural artefacts to create and explore dialogues across a global African diaspora and unravel historical and contemporary links between the intersectionality of women, migration, and identity as means to disentangle our understandings of archival practice. Pelumi is co-founder of Contakt Collective, a collective of Goldsmith’s University of London postgraduate researchers examining the intersections of power, care, spatiality, & visual culture. Pelumi holds a BA from Newcastle University in Fine Art and Art History, and an MA in Contemporary Art Theory from the Visual Cultures Department at Goldsmiths, University of London. Her writing on contemporary photography, art, and culture has appeared on Magnum Photos, Artillery Magazine, Photoworks UK, and Photo Fringe among others. Her most recent projects include curating and producing for the Tate Exchange at Tate Modern, working as a curator at the Black Cultural Archives, and curating for Brighton Photo Fringe.

Iris Sibirica; Anna Atkins (British, 1799 - 1871), and Anne Dixon (British, 1799 - 1877); 1854; Cyanotype; 25.4 × 19.8 cm (10 × 7 13/16 in.); 84.XP.467.5; No Copyright - United States (http://rightsstatements.org/vocab/NoC-US/1.0/)
© Atkins Dixon Iris

Anna Atkins: Botanical Illustration & Photographic Innovation (2020)

STILL AVAILABLE TO VIEW OUTDOORS: Trinity College gate, Parks Road, Oxford

Anna Atkins, an English botanist, is renowned for her remarkable compendium, Photographs of British Algae: Cyanotype Impressions, which she privately published in approximately twelve instalments between 1843 and 1853.

The photography of Anna Atkins is celebrated for its beauty and innovation, and is found in many of the world’s major museums, including the Museum of the History of Science, Oxford.

Read more about Anna Atkins here.

Online 'In Conversation' between Geoff Batchen, Professor of the History of Art at the University of Oxford, and Dr Lena Fritsch, Curator of Modern and Contemporary Art at the Ashmolean Museum listen again here.