Adil Manzoor

Thake' peynd | There’s a Kashmiri idiom I recall my grandparents saying: When you take a tree that is rooted in the ground and transfer it from one place to another, the tree will no longer bear fruit. And if it does, the fruit will not be as good as it was in its original place. Over time, I have found that this knowledge about trees does not extend as a metaphor for human belonging. As modernity grows its piercing roots into our current times, some people weren’t left a choice to be still as a tree.

Some have a home and outlive its comfort; they leave, feel nostalgic, restless, and homesick, but don’t have any other option than move out, to escape ennui, death. Some have to search for and create homes in other cities, from one apartment to another, in one person or another, not only to find themselves at home once again, but to make new meanings of the word home. As a photographer, this nomadic existence has taught me how to find solace in strangers.

I would never have thought of leaving the city as the summers were cool and winters snowy and we're enclosed by the mountains and have some of the largest fresh lakes. I used to spend the days of my childhood learning to swim, catching butterflies, and playing cricket.

As the clouds pressed lower and the mountains became red, the last bit of innocence was slowly squeezed out of my childhood. A rush of blood and suffering came up to the surface, and suddenly I was thrown into the throes for Aazadi — curfews, strikes, teargas, police, army and taranas. Winters used to be windy, harsh, solitary, and quiet. I knew the war wouldn’t finish in a month or two. It has come true: it looks like the war will never end.

When I'm bored, I start taking photographs; of my folks, or if I'm in a different city I try to find a home in other people. I try to find in them both the cool summers and snowy winters I know to be home. Whenever I travel back to my home, I end up discussing everything under the sun with my friends who are around. Lately, we’ve been talking about how we become people of multiple cities, and how we might be able to figure it out, to live with this more-than-oneness?

For a few weeks now, I've been back home with my family, and often, I'm bored. I go back to my familiar sport, taking pictures. Sometimes, these photos capture my cousins and my aunts, the spaces I occupy and move through, seizing a few moments of their lives.

The place I call home is very bright and beautiful but also bleak — like a deserted heart. One of my friends recently texted me, you're from a city of stars, but little does she know it's always moonless, this city.

Note: Thake' pyend' is a Kashmiri word that denotes a resting spot or home. A home is more than a space where your soul gets peace. A home necessarily doesn't happen to have a structure, it can be a person, house or anything which doesn't even have a material shape or form.

Catherine LeComte

I am using digital photography and collage to explore the connections between images, memory, and visual recordings. Images can bind memories, and through archival photographs of my familial relationships, I revisit the past and reprocess those events. I explore how I might remember an event differently from another who was also there, and I am interested in how recorded memories can be transmuted and altered to form a new narrative.

I use the VCR tapes my father recorded of my family and I from the 1990’s as another visual method to revisit my childhood. I play the tapes in rewind, and photograph the scenes as they appear. If I revisit the past, what will I uncover? I recently started using my fathers 8mm film camera, the same camera that recorded me, to record my present day moments. How are my present day memories connected to the ones I have of the past?

EMDR is a therapeutic technique in which one memory is selected and reprocessed per session. With each session, I unweave technologies that recorded me in the same way that EMDR unweaves my mind from the past. I am interested in what memories have shaped who I am, and how reliving those events through past technologies can help me reprocess them. www.catherinelecomte.com

Ava Pavlenč

All thing You | Life is a constant process of change. We evolve with time, grow through experiences and beco-me a different version of ourselves at different stages of our lives. However, our identity goes beyond our physical presence. It is not solely something that defines us while we are alive, but it is something we leave behind for people to remember us by.

Twelve years ago, I lost my father. Trying to cope with grief I returned to places he liked to visit, listened to music he enjoyed and sur-rounded myself with things he owned. I realised that whilst my father is physically absent, his identity and who he was is still omnipotent. As a young man, he opened his own gallery where established painters exhibited and sold their work. The gallery was a great success, with the local newspapers often featuring an article about it. He expanded his business and ope-ned a workshop where people could get their paintings framed.

My father spent hours per-fecting his work and once he was happy with the end result, he would stamp his logo on the back of each painting, wanting people to know his work. Our family kept most of the paintings and they are now displayed in our family home. We kept a lot of other things that belonged to my father. The one I always have on me is his gold bracelet, gifted to me by my mother on my eighteenth birthday. It was her way of giving my father’s gift to me, since he could not be there to celebrate the big milestone.

Sometimes it‘s hard to go through big milestones in life without him by my side, to celebrate big moments yet always having an empty chair, a spot where he should be, but isn‘t. Over the years some of the things had to be thrown away, but we kept one despite everyo-ne wanting to get rid of it decades ago: a red armchair that has been moving around with my family for over 25 years. My father insisted on keeping it because ‘it‘s still good enough’ even though we didn‘t need it anymore.

Twelve years after my father’s passing, we still have that same armchair. Maybe it‘s because we‘re still not ready to let go of certain things that remind us of our lives before he was gone.

To reconnect to the past and somehow feel closer to my father I often go through family pictures to remind myself of a moment in time I had forgotten or was too young to remember. There are many photos of me cuddling up to my father and although I don‘t remember the exact moment the picture was taken I still re-member the comfort and safety of his embra-ce. I have one of those pictures tattooed on my arm, to commemorate my father and to never forget the precious moments we shared. Loo-king through these archives I often rediscover who he was. Not only as a father but also as a friend, as a business man and as a husband.

Just like my father, we will leave behind a small mark in this big world and so long as our sto-ries are told, the memory of us will stay alive. Even after we are gone our identity remains constant. www.avapavlenc.com

Jacob Black

Forget Me Not | Lockdown and the global pandemic forced many home to isolate in aid of our personal and collective health. This period enabled reflection our environments became our companions our world. Moving from the bustling streets of Peckham London to the rural sanctity of South Devon the place of my adolescents. I became immersed in the environment that cradled and defined much of my existence. Enticed by its beauty and mysteries I began noticing the water reflection on the fallen trees the flight and the songs of the birds. These scenes were magnificent but amid the beauty natural peculiarities began to plague my conscious. Dark figures flashes of light permeating the blackness I became unable to decipher fiction from reality. I started to question my psyche why was I unable to rationally experience the natural wild world as I had remembered it.

'Forget Me Not' explores the death and destruction of the wild world within the physical and metaphysical. How we struggle to process seemingly ordinary natural events as our lives and spirits become urbanised. The work is a theatrical and mystical journey into the forgotten exploring mythology and hallucinations within the confines of a still image while conceiving unique from physical landscapes. 'Forget Me Not' thus attempts to create an experimental visual language into the understanding education and experiences of the British wilderness. jacobblack.format.com

Noah Fodor

Violent Histories | McKees Rocks, PA, a few minutes outside the city of Pittsburgh, has a harrowing past led by the politician James J. Westwood. His menacing time in the area begins in the late 1890s’ when he discovered a skull on top of the ancient burial mound in the area and decided to kick it into the Ohio river. Later, he began his career in crime. Starting with the “mysterious” death of his daughter by gunshot as he found her lying in the fetal position. Then came his role in the bombing of another man in the area running against him, defrauding the community, and various election crimes. This all led to his final act of violence, the murder of his wife Martha, as he stole up his back staircase and shot her three times through the window. This is a story of corruption, greed, power, suppression, and violence fueled by the desire for control.

Through images, archival photographs, text from the story of The Promised Land in the bible and newspaper articles recounting Westwood’s narrative, Violent Histories depicts a modern landscape of McKees Rocks, PA and retells the life of Westwood and his crimes. A new American history can also be untwisted. Filled with a truth that America would rather not admit as layers are peeled back and contradict the celebratory and “imagined” versions of America that are central to the façade America hides behind.

Like Westwood’s time in McKees Rocks, the same corruption, greed, and hunger for power by any means necessary can be seen in American history. Only this is disguised through romantic notions of overcoming adversity and hardships, and the idolization of colonizers. From Columbus to the Pilgrims and Puritans, their stories are wrapped up in the same themes as Westwood’s life. Charged by greed and under the name of God, justification is created for genocidal violence and othering. Inaccurate narratives paint these colonizers as heroes and worthy of worship, when their only form of power is through means of terror and exploitation, not “hard work” or determination. www.noahfodor.com