A multidisciplinary exhibition, Within Walking Distance examines urban life through the twin lens of photography and sociology. To live in a city is to explore what it means to be urban. We are not just spectators: we are inhabitants and participants.
In an exploration of the impermanence of the contemporary urban landscape, these photographs were taken on walks in and around Olympic park, of the remarkable temporary built environments in the lead up to the 2012 Olympic games. These images now serve as a collection of artefacts that preserve that temporary landscape.
As opportunities to encounter darkness fade away in our brightly lit urban context, this journey through the unspoilt space of night re-negotiates aspects of darkness and its effects and affects. Dark atmospheres are used experimentally to challenge the oblivion and evoke a contrast to the loss of the ability to perceive the world in a poetic way.
In seeking to understand the process of ageing in relation to the definition/construction of home, these photographs of elderly people in their homes explore what it means to grow old in an urban environment, specifically London, revealing the importance of family and memory in later life.
The ideas behind this work are fed by a fascination with the changing realm of play for children, looking at representations of childhood, and focusing specifically on how children navigate urban space through improvised play, and how society might influence and regulate movements and possible actions within the city.
‘On the Periphery’ explores a neighbourhood of Tel Aviv nestled between two central bus stations- an abandoned old terminal and a new station completed in 1993. The project investigates the effect these two dominant buildings have on the urban fabric that remains on their peripheries, and the communities that inhabit the area.
What is the place of memory and commemoration in social life and public space? Space is an important component of public memory, with commemorative sites as concrete examples. But as sites of commemoration are slowly becoming top tourist attractions (eg. the concentration camps at Auschwitz), is there still room for the pilgrimage some are looking for?
People are separated from nature through the building of the city, which excludes uncontrollable natural elements in order to maintain itself. In exploring tensions between nature and human material culture, these beyond-real photographs encourage us to consider the temporality of our surroundings, and invites ecological considerations while simultaneously celebrating our ‘unnatural’ environment’s unique aesthetic.
Derived from an initial exploration of architectural uncanny, these images reveal that through constant repetitive encounters, particular elements of the built environment can obtain the status of a personal landmark. The camera produces an archive of fragments of space that is oft-travelled, and from this visual archive, a map of personal significance emerges through the symbolic act of image building.
Beginning with some questions about photography as a visual means and its relevance in a social context, this work asks: can photography be relevant to achieve social changes in a specific community, what is the role of photography in these processes, and can the images be as powerful as the stories behind them?
This work examines the political economy of the built material environment in which the social is generated and expressed. When architecture becomes a manifestation of ideology, and thereby generates knowledge over history and memory, photography then serves as a practice to inform counter-narration, and as a means to translate ideological manifestations into a discourse of the sensible.
The table is laid, but lies empty. This scene at Brixton Market was the impetus for exploring the process of gentrification that the Brixton area is undergoing. As witness to the transition, Vitoria’s visual documentation portrays both the death of a traditional neighbourhood community and the birth of a new one.
This work portrays the lifestyles of a large group of Chinese migrants who work in London’s Chinatown. They range in age from under eighteen to over forty, and come to London for different reasons. After spending six months building a relationship with them, Yu-En is able to capture the various ways that these migrant workers relate to their space and