Ashley O’Sheehan photographs the female DJ’s and producers shaping Bristol’s music scene

Words by Ashley O'Sheehan

My work often centres around women. I give them a voice by telling their stories through documentary style imagery - portraiture in particular. Yet, to successfully tell this story, it meant I had to do more than just photograph a series of portraits.

In response to the notorious male domination in the music industry, I placed my focus on some of the hard-working female DJ’s and producers who are heavily involved in Bristol’s music scene. I believe it’s incredibly important for everyone to get the rocognition they deserve, so, with their support, I based my project on these inspirational ladies. Together we make the journey to our well-earned place, alongside men, in the creative industries and society.

Along with various admirable female creatives - those who are musically talented and others who are artistically gifted, we collaborated to produce a body of work which celebrates and empowers us women.

Not Drag

Capturing Irish women expressing sexuality through ‘drag’ with photographer, Audrey Gillespie

Words by Audrey Gillespie

Photography is my prime medium. My focus in my works are to address my own personal issues with LGBTQ+ communities, mostly those locally around me, as well as from the general world of LGBTQ+, with the bigger focus as of recently being ‘drag’.

I’m from a small town in Ireland, where the drag scene is severely lacking. Not Drag came with all the general looks and stares that generally come with doing something ‘outside of the box’. But thankfully with no severe abuse.

For me its important to look into all the different sub cultures of drag, not just the popular artists that the general public see. It’s much more interesting to see just how accepting the public audience really is of things that challenge the social norm of gender and sexuality.

Not Drag started with my own projections of how I felt about drag onto chosen models. The hair, the makeup, the styling, was all me. That then changed quickly to then only being expressed on female models and then eventually to myself. Through this project I ended up creating a drag persona of my own, which lead me to question what it was about drag that made me want to do it.

Developing a love for what I was creating, I came across several groups of women doing the same thing, for reasons so saddening but very relatable to myself; women using drag as a safe form of sexual expression, creating alter egos stronger than their usual selves to be able to battle the cat calling, the harassment, all in the safety of their own groups.

Having shared this experience, I treasured my new found drag ego and used her to create a new sense of self, alongside the other models I had the pleasure of sharing the journey with.

Capturing the hedonistic, melancholic holidays of child refugees in Beirut

Sarah Ben Romdane photographs the Syrian children refugees of Beirut

Words by Sarah Ben Romdane

The Syrian civil war has forced thousands of refugees to Beirut, the Lebanese capital. The city has, throughout the decades, welcomed refugees from the region, such as Armenians, Palestinians and Iraqis. Gradually, they have settled and created their neighbourhoods, in which they live with their communities.

In this series, I have documented the life of young Syrian refugees living in the neighbourhood of Clemenceau, during their school holidays. A few Syrian families, who flew Aleppo four years ago, have moved to Clemenceau. Their homes overlook a car park, which has become the children’s meeting point and playground. It is mostly in the parking lot that the children spent their days and evenings together playing, while remembering Syria with nostalgia and fantasising about going back. It is precisely this confrontation between hedonism and melancholia that I wanted to capture.

I spent ten days following them, documenting their free time. My aim was also to show another picture of the refugee crisis story, particularly in relation to children, in order not to essentialise them by showing that despite their status, happiness can exist.


Photographer, Chloe Davies examines the mundanity of family life in rural Wales

Words by Chloe Davies

Located in a small village in Wales, my work looks at domestic life within my given surroundings.

I focus on life within the family home, the complex relationships, the tensions, the routines, the habits. The mundane moments of life we'd rather not remember. I have been working with this theory that the family photography album is a socially constructed ideal, it's a phenomenon that's becoming more apparent with social media. Social media allows us in to see the lives of others, but of course what’s on view is only what they want you to see, there’s a whole other life that goes on behind the screen that we don’t see.

Within the family photography album are these false representations of family life and staged memories. In Familiar I work on creating the real family album, real memories, capturing moments that wouldn't make the family album and celebrating them instead of the false reality we put on display.

We portray ourselves differently to the outside world, at home we lose our inhibitions and the people that surround us see the flaws, the brutally honest version of ourselves, the more honest side of us that we often hide.

The family life, the home life, is not always picture perfect so I started documenting my own home life and my own family to create the most realistic representation of it.

Once I began shooting my family, I realised how strange this whole setup really was. I started to question everything, everyone’s behaviours, their habits, their personality. Everything was exposed.

Sea Change

Lee Brodhurst-Hooper photographs Kent’s Folkestone as the popularity of Britain’s coast declines

Words by Lee Brodhurst-Hooper

Sea Change is a study of contemporary people in Britain’s eroded coastal towns.

Once celebrated, feted and adored, Britain’s coast is struggling to find a role in people’s hearts in the age of bargain-basement cheap-flights and package holidays. In the place of lustrous vibrancy is desolation, decline and dereliction, where the fate of the seaside town has seemingly been sealed.

With social deprivation and cuts cutting deeper into coastal communities, places like Folkestone are fighting to evolve, re-evaluate and find new purpose.

And it’s the age-old conundrum of gentrification that splits the community. The old vs. the new. The greater good vs. the individual. The respect for roots vs. profit and greed.

Which poses the question, what does Folkestone’s future look like? Is it here right now? Will it ever arrive?

This ongoing projects attempts to document the people of Folkestone through the eyes of its future, and it’s past, unpicking nuances that both contradict and complement.

As a gateway to the European Union, Folkestone is a melting post of cultural and political relevance. A mass of contradictions, unity and opinion, Folkestone is a small town where roles are no longer defined, creating a zenith moment for its inhabitants who are free to live as their parents did, or to set their own path.

As a publisher and Community Interest Company, TRIP is dedicated to showcasing unconventional stories that may otherwise be overlooked. We aim to give a platform to the unseen and a microphone to the ignored. Expression is a right and should not be confined to those that can afford to work for free; which is why we strive to support a diverse range of creatives in their work, commissioning exciting projects and creatives to visualize them.

Founded as a magazine in 2013 by photographer, Dean Davies, TRIP was born from a desire to provide opportunity and exposure for image-makers across multiple platforms and medias. With a focus on people and place, in 5 years TRIP gained a loyal readership, and became known for its honest image output and representation of the underrepresented, featuring over 800 image-makers from across the world through a website, 5 magazines and 3 free zines.

As TRIP C.I.C. we are not interested in profiting from the activities of the organization, and re-invest all income back in to consecutive publishing projects.

Dean Davies
Alfie Allen

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