Monday, 6 February 2017


polaroids taken by my old friend Rico, by the deer in Farnham park in the Winter of 2015.

My life is on a chapter far greater than any others shown on here in the past. I cannot fathom my own thoughts in a way to share what my 'now' is. My decision to close my blog is not even close to lack of passion, I have adorned every aspect of my posts on here. But the words and photographs I see on here are the ideas of a young teenage girl looking for her voice, searching for ambition. I believe I have found a new way of living that cannot be compromised to the story of 'Liberty Georgina'. Thank you to all my dear readers that took an interested in my creations and writings. I believe I started this blog when I was thirteen, despite my efforts to cling onto this archive of my life, this blog will remain. But I will be starting something new soon, I will be sure to add a link when the day comes by.

Friday, 10 June 2016

free the nipple[s].








during world book night the library at UCA gave out a selection of books donated by staff members. I picked up a gem that has been a great inspiration of mine recently, erotisme au cinema by Lo Duca and Maurice Bessy. Pages among page of film stills have been scattered across my house, pinned to the walls, piled up on sofas. This is just the start of something new, I am yet to find my own statement from these erotic scenes. For now I thought i'd share that beginning of this side project, since Instagram removed the majority of these simple collages.

Monday, 23 May 2016

the female gaze.






Locations on show: Cinsy's apartment and Madeleine cafe, London.
Subjects on show: Cinsy Tam.
Camera used: Hasselblad 500c with a 50mm lens.
Film type: Kodak Portra, 400.

The gaze is a social utility of photography, it allows the viewer to gather a personal expression from the subject. We gather a sense of recollection in the structure of a photograph, small glimpses of recognition springs to mind as we look at the pose of a subject or examine the objects that are positioned into the frame. Many of these works can be compared to historical paintings, from the high and early renaissance we are reminded that these pieces of art works have influenced photography by showcasing the true identity of the subject.

Photography is still different from painting, brush strokes begin to surface, the detail slowly becomes more abstract as the visual reality is translated into paint. With photography you see more definition than in reality by being able to remain in focus from looking at the surface of a photograph up close. The eye of the seer is only a metaphor for the pre-existence of the gaze. It is the ‘shoot’ (pousse), something prior to the eye. Perhaps a photograph can capture a gaze better than a painting, as Lacan's studies on the gaze are from researching an immediate effect. Unlike a painting that is not as sudden or vast as witness or a photograph. In this manner, the process of eye perceives more expeditiously than the hand can draw or paint.

The subject of a photograph who is unaware that he or she is being captured would reveal the “truth” about himself or herself. Whereas a subject who is conscious and fully aware about the camera that points towards them, would alter themselves into a false position. He or she would create their own mode of representation in hope that it would hide their real selves from the photographer.

Looking at the gaze through a medium of art such as photography, we assume the subject is either the surveyor or being surveyed. Women depict differently from men. Not because of masculinity and femininity, but because the 'ideal/typical' observation is assumed to be a male. If a camera were to be placed in between the man and woman, it would be the man who over looks from behind, the image that the woman creates is designed to flatter.

Saturday, 14 May 2016

eleven till four.







Locations on show: Wetherspoons, TALK nightclub, Southend on Sea.
Camera used: Olympus XA2.
Film type: Agfa Vista 200.

I was never the type to spend the night in the basement of the sea front arcades, my lack of desire for a fake ID did not affect my social life during school. Upon my returns to my old home town, Southend, I have finally reached that opportunity of exploring the levels and darkness of nightlife by the sea. Sitting in booths at Wetherspoon's drinking woo-woo's by the litre, applying regular layers of MAC lipstick in the girls bathrooms, reassuring the new Louis Vuitton purse is zipped up securely. The worry and concern of reality is danced away, sometimes tears are shed or strong hugs are shared. By the end of the night none of those souls you danced closely against matter, with closed eyes the neon lights share patterns on my lids, alcohol links us all into the same state of fulfilment. But the most important value is sharing a box of chips with your friends in the car ride home.

Tuesday, 12 April 2016

Short, Back and Sides.

(Short, Back and Sides preview)









Locations on show: Nigel's Barbers, Headcase - Farnham
Subjects on show: Thisseas, Joshua.
Camera used: Hasselblad 500c with a 50mm lens.
Film type: Ilford HP5 Plus 400, Delta 400.

As a young lady entering what seemed like a forbidden territory, Barber shops are an unfamiliar space to me. I discovered that these parlours are particularly used for gentlemen who gather around to socialise, to be offered a beer during their shave or to receive a shoe polish as they repose in the leather reclining chair. The clarity of the barber shops creates a sharp and prominent aesthetic, there is a strange warming comfort that feels welcoming from both the interior and the barbers.

I was intrigued to find out what happened behind those closed doors, peering through the large glass windows only seemed to have captured the reflection of street furniture and the high pace of surrey's finest classic cars. The accessibility of being able to step into a Barber shop is a lot more elementary during this current moment in time. Traditionally, many Barber shops started out in the backs of gentlemen's bathrooms, hence the appeal for a clinical, minimal interior at a place such as Nigel's.

There were a few moments of patronisation, neglect and humiliation. The reaction I had witnessed during my journey of cutting the boundaries revealed that a small variety of Barbers would not allow a lady like myself to remain in an environment strictly for a gentleman's use. In an attempt to make my potential subjects more at comfort, I slipped off the little Italian heels and opted for a pair of tasseled loafers. A high neck jumper and tailored trousers allowed myself to believe that I was able to embrace my inner masculinity, I felt the urge to blend into a space I am deeply fond of documenting. Although my femininity and appearance still shone like a beacon of light, my duration at the Barber shops I was able to photograph made me feel at ease. A sense of homeliness and comfort was quickly established by the Barbers and clients. The empty appeal of the distantly spaced chairs and illusive mirrors was regardless to this type of energy as this brought myself fondness, despite the fact of being a lady.




This series has been made into a book as a combination of image and text, available on request.
hand bound with leather, mount card, tracing paper and waxed thread. A total of thirty six pages containing twenty six photographs.