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Julie Derbyshire is a photographic artist whose research-based practice explores themes of fragility, transience and our shared human condition. Informed by art history and lived experience, she combines beauty with an undercurrent of disquiet to interrogate the contradictory nature of our world. Her minimal, constructed images employ photography as the final distillation of a creative process involving fabrication, manipulation and disruption. She approaches photography as an instrument of illusion rather than documentation, crafting objects that she re-presents on the photographic plane through physical and digital interventions. By exploring the potential of the photographic object to conjure new meaning, she invites viewers to question what lies beyond the image.
The landscape of far northwest Scotland is the UK’s final bastion of ‘the wild’ yet it used to be blanketed in trees, now decimated through human activity and climate change. The images in this project are disrupted by over-layering with ethereal visions of trees and branches, intertwined and connected, but now awkwardly encroaching into traditional depictions of sublime beauty. The work offers a contemplation on what used to be, on what is and on the urgent need to protect and care for our fragile environment.
juliederbyshire.com
@juliederbyshire
Enrico Dedin (1996, Treviso) is a media artist and art director based in Venice. His video works are included in the catalog of Heure Exquise!, distributor of the audiovisual collections of the Musée du Louvre and the Musée d’Orsay.He has been selected for prominent events and exhibitions, including the 16th Videoart Yearbook curated by art critic Renato Barilli, the Collettiva Giovani Artisti at Fondazione Bevilacqua La Masa, and The Wrong.His work has been featured in the book ‘L’arte del XXI secolo. Temi, linguaggi, artisti’ by Viviana Vannucci, an international curator and lecturer. He has received various awards and honors. He is the author of the literary manifesto of Metaluddism, published in the periodical Il Foglio Clandestino. Graduating with honors in ‘New Technologies of Art’ from the Academy of Fine Arts in Venice, he also works as an art director in the field of multimedia communication.
A code is always a codex, a law, but often we are unaware of it, the unreadability of these codes becomes a symptom and revelation of the law. The law of speed, fragmentation, spaceless and timeless simultaneity of the web, that modifies our way to gain experience and to interpret the world, bringing us closer to what it is far and moving away from what it is near, the media codify us in turn.
QR codes reflect an era that dreams to be always connected (the "Internet of Everything" is an example), in a system that floods us with data ignoring the non-economic consequences. The information overload invades more and more the cityscape, de-realizing it, reducing it to hypertext, influencing our ability to feel and think.
NR Code is the liberation from this logic, it’s the digital flow’s interruption as a necessary moment of reflection on it, it’s the code/non-code of the offline, suspension, ambiguity, doubt, silence and nothingness.
behance.net/enricodedin
@enrico.dedin
Nasrah Omar is an interdisciplinary artist working with photography, installation, XR, and collage. Rooted in South Asian ritual, ecology, and folklore, her work explores how technology, memory, and living systems intertwine. Through sensory installations and participatory archives that weave medicinal plants, grief rituals, and digital tools, she reimagines care and reciprocity beyond extractive logics.
Her work has been shown at TV Centre (London), Pioneer Works (NY), The Photographers’ Gallery, and La MaMa Galleria, and featured in Aperture, Der Greif, and Portrait of Humanity Vol. 5. A recipient of Google’s Image Equity Fellowship and NYFA’s New Work Grant, Nasrah seeks to develop site-responsive practices that merge AI/XR with collective healing and counter-archival research. She holds a BFA from the School of Visual Arts and is completing an MA in Photography at the Royal College of Art.
Technology operates as the medium: a way to make contact with ancestral revenants through digital channels. AI chatbots and text message exchanges are reimagined as oracular tools, haunted interfaces that allow spectral voices containing many multitudes to emerge. These digital dialogues and AR interventions along with medicinal plant recipes from Ayurveda and beyond resurface and recenter de-colonial knowledge systems. The space is reworlded with a nod to the visual language of real-time rendered video game. In it, nature fractures through rendered grids of containment; digital architectures are overrun by flora, fungal networks, and unruly organic forms. This entanglement between the synthetic and the elemental reflects the project’s broader vision, to disrupt colonial schematics of space, time, and memory, and to allow new, mycelial pathways of remembrance and repair to take root.
www.nasrahomar.com
@nasrah__omar