Shot over 10 days in rural Georgia, Canadian photographer-researcher, Kyler Zeleny explores his fascination with the American South
Words by Kyler Zeleny
On my first night in Georgia I went to a Waffle House in one of those detailed nexus-like commerce hubs, otherwise known as the roadside turnoff. Waffle Houses propagate in these sites. I gaze at another across the divide known as the motorway. And in some Lynchian universe I exist in both houses drinking coffee… watching myself… watch myself.
The waitress told me “welfare be the devil”. Why she said this I don’t remember, but it reminds me of an earlier conversation I had with a man living beside a roadside stop in the adjacent trees. Forced to the margins of even the poorest rural areas, this man lives in ‘the bush’, in a camouflaged shantytown only a few steps away from the roar of the motorway – the grime of nature with none of its idyllic virtues. His name long forgotten, he couldn’t work - on account of his bad leg. He expressed a slight wobble, said he prayed daily. He held an impromptu cardboard sign, his employer the people, his trade… begging. I offered him a dollar to take his photo. He declined. I replied in my privileged way, “nothing comes for free”. His dignity was worth more than a dollar. He had in that moment placed a value on his soul and I had to respect that. I tried to discuss the weather with him as I’ve learned there are two things you absolutely avoid in some American states – politics and religion, less they figure you for an atheist, or socialist, or worse… of course there are worse things than holding socially nefarious politics on the workings of church and state - meth for one. I met a couple in Griffin who were recovering addicts, said, “90% of the town is addicted”. They had lost their child to the state and spent their evenings drinking unburdened. They collected welfare. They needed between $500 – $1000 dollars to “bring their daughter home”. In their minds it was too hard to come by such cash. The woman commented on my hair, said she liked it. Went on to talk about how beautiful her hair was, this was before she shaved her head, the lice shampoo was too expensive. Unsuccessful at getting ‘shittered’ and with no money to continue the campaign, they left.
Searching for an authenticity, I am confronted with clichés of rural poverty and backwater thinking that is the American South. Even the anti-welfare waitress is a cliché, an archetype of America’s division and its ‘pocket-like’ thought.
‘You hope, you pray, you believe and you dream’ – Liam Hart’s A Game of Two Halves explores contemporary British football culture
Words by Liam Hart
It might have been the endless flags hanging from every house in view, or it might have been the fact that in these summers where England went to play in a tournament, the streets sang with hope, disappointment and eventually resentment. My first feelings of optimism and disappointment. As famous as our ability to queue is our ability to dream and build up our hopes before crashing back down to earth whilst exclaiming we never dreamed in the first place.
These summers dominated my childhood and forged into my brain the marriage of Britain and Football. The intertwining of these two cultures a tradition for some, a ritual to others and a bunch of nonsense to the rest.
Football is a simple game, you put the pig skin in the onion bag. Like this metaphor football hasn't really changed, you hope, you pray, you believe and you dream, whatever happens after this is almost irrelevant, for it isn’t the winning that gets us through the summer. It’s the dreaming.
James McCourt photographs the Garden of Hope – an urban farm situated within a housing estate in West Belfast, providing a family community with a sense of pride and purpose
Words by James McCourt
Regarded as an area of deprivation, statistics from the End Child Poverty Campaign (2013) stated that “43% of children grow up in poverty in West Belfast”.
The St James’ area of West Belfast is home to the ‘Garden of Hope’. An urban farm situated within a housing estate. To the children, this is an escape from the banality of the everyday, giving the community and the children a purpose. The items used within the farm are donated by the local community; each item has a sense of place.
Following the conflict within Northern Ireland, this small yet family orientated community, are in the latter stages of redevelopment.
Photographer and creative consultant, Chloe Juno documents discarded litter on the streets, parks and alleyways of Brighton, exploring the life experience of strangers in the detritus they leave behind
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