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Daniel Blau is pleased to announce the fve winners of the
gallery’s second annual Young Photographers’ Competition:
Matan Ashkenazy / Oliver Eglin / Daewoong Kim
Ruidi Mu / Sofa Valiente
We are delighted to present a selection of work by these fve
talented photographers in a group exhibition here in London
51 Hoxton Square
tel +44 (0)207 831 7998
Galerie Daniel Blau
tel +49 (0)89 29 73 42
July 4, 6pm - 8pm
July 5 - July 31, 2014
Tuesday - Saturday, 11 - 6 pm
For further information
about our exhibition
Thank you to Frontier Lager for
sponsoring the opening of 5 UNDER 30
These photographs are from a body of work made in Switzerland which documents the
physical border areas between different countries (Switzerland, Germany, Italy, Lichtenstein and
France). Agreements within Europe have led to the borders being open, but there have been
recent discussions about closing the borders and slowing down immigration. Matan’s work reacts
to the possible changes to come, as the structures of the borders/checkpoints have the ability and
potential to be closed in the future. The space depicted in these photographs remains unresolved.
Matan Ashkenazy completed his BFA at Bezalel Academy of Art and Design in Jerusalem, Israel.
He is currently a candidate for his MA in Photography at the Royal College of Art, London.
He has worked with Israeli and international artists including Jeff Wall and Nick Waplington in
addition to developing his own practice. His recent work looks at the political use of the landscape
and architecture as a controlled and policed environment.
Matan has participated in various exhibitions and projects in Israel, including a solo exhibition, and
he has received a number of photographic awards and scholarships.
Image: “Farm”, 2014, c-type print, 30 x 38 cm
In the series of works entitled Markings, Oliver Eglin has photographed Ficus macrophylla trees in
the Giardino Garibaldi in Sicily. This is the oldest living fora in Sicily and was imported from
Australia in 1863. As Ficus macrophylla is a species of strangler fg, seed germination typically
begins within the canopy of a host tree, where the seedling grows as an epiphyte until its roots
have made contact with the soil. It then enlarges and subsequently begins to suffocate its host,
before eventually becoming a freestanding tree of its own.
In Australia, Aboriginal peoples utilised the Ficus bark as pigmentation for their rock paintings. The
Ficus trees of Giardino Garibaldi are scattered with contemporary engravings from visitors to the
park. These crude markings mirror those of Paleolithic man and mimic the spiritual urge to leave a
physical imprint on the earth.
Oliver Eglin is a 26 year old British photographer currently living and working in London. Raised
in Staffordshire, he developed an early interest in both literature and flm, which has subsequently
informed his narrative and visual style. His work has been exhibited at Tate Liverpool, Foto8 and
Dovecot Studios in Edinburgh. Oliver graduated from Middlesex University with a BA in
Photography, having also spent time on exchange at The School of Visual Art in New York.
Following this, Oliver moved to Berlin where he spent the next three years developing his
photographic study of the city. His work has since been published in Dazed & Confused,
Hotshoe International and Pop. Kultur & Kritik.
Image: “Ngamadjidj”, 2014, fbre based inkjet print, 25.4 x 30.5 cm
The inspiration behind Daewoong Kim’s project beyond sustenance (Letter from Home) is the artist’s
father’s grief over the loss of Daewoong’s grandmother. His father cannot escape a feeling of great
sadness over his mother’s death and can no longer eat her food. In considering his father’s loss,
Daewoong also considers the distance between himself and his own mother and realises that the
most distinct memories of his mother are also encapsulated in food.
In this series, Daewoong Kim photographs foods that establish his identity as a Korean. His work
explores the subject of loss by using photography as a means to access the past through the
present. His still-life photographs invite contemplation by presenting an idea of something
unmoving and unchanging.
Daewoong Kim was born in 1984 in South Korea. He is a graduate of the Seoul Institute of the
Arts and has a BA in photography from the London College of Communication. He is currently
a candidate for an MA in photography at the Royal College of Art in London. Based in Seoul and
London, his main interests are portraiture and still life. He has participated in numerous exhibitions
including the Taylor Wessing Photographic Portrait Prize in 2012.
Image: “beyond sustenance (Letter from Home)”, 2013, c-print, 21 x 29.6cm
These photographs are from a series entitled Húlu. Húlu is the Chinese name for calabash.
The calabash is also known as opo squash, bottle gourd or long melon. It is a vine grown for its
fruit, which can either be harvested young and used as a vegetable, or harvested mature, dried, and
used as a bottle, a utensil or a pipe. They come in a variety of shapes, and they can be huge and
round, small and bottle shaped, or slim and serpentine and more than a metre long.
In China, the Húlu is an ancient symbol for health and luck.
Ruidi photographed 100 individual calabashes for this project. Although they are the same kind of
plant, they are each unique. She selected 9 photographs for this exhibition as in Chinese culture
this number has special signifcance and symbolises infnity. This points towards the infnite number
of individual differences in the calabashes themselves, as well as towards the innumerable
differences between Eastern and Western cultures.
Ruidi Mu is a Chinese artist who lives and works in London. She was born in 1989 in Dandong City.
Her BA in Fine Art was received from the Chelsea College of Arts. She is currently studying
Photography at the Royal College of Art. Her work incorporates photography, painting,
performance and video and is often concerned with identity and politics.
Image: “Húlu No. 068”, 2014, digital c-print, 25 x 25 cm
On the outskirts of a rural town in an impoverished area of Palm Beach County, Florida, lies the
small community of Miracle Village - home to over 100 sex offenders. Florida legislation requires
offenders to live a minimum of 1,000 ft. from any school, bus stop or place where children
congregate, yet many municipalities extend this law with local ordinances that increase the distance
to 2,500 ft. In reality, this becomes extremely diffcult to abide by, and many offenders struggle to
fnd housing and re-establish their lives in society. The village, founded by a church ministry, seeks
to help offenders that have no place to go.
The range of crimes committed by the residents varies - from serious offences to consensual
teenage relationships that had an age gap. The men are mixed in age, from various ethnic
backgrounds, and they are all coming to terms with the permanence of living with this label.
For over a year, Sofa Valiente has immersed herself in Miracle Village, where she has befriended,
photographed, and lived among the residents. They have shared mementoes from their past life
along with their stories of estrangement, solitude and rehabilitation.
Sofa Valiente is a recent fne art graduate from Florida Int’l University in Miami, FL. When Sofa was
thirteen, her mother sent her to a reformatory boarding school in upstate New York. The
experience of being isolated at a young age roused an introspection that has remained with her
and is something that she continually seeks to understand through her photographic process.
She is currently pursuing a residency in the Editorial Area at Fabrica, where Miracle Village is being
produced. Fabrica is the communication research center of the Benetton Group in Treviso, Italy.
Its Editorial Area investigates social and cultural changes through long-term journalistic projects.
Image: “Richard Playing Basketball 603”, 2014, digital print, 23 x 33 cm
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