Author Archives: Manuel Vason

Artists/Collaborators selected to contribute on Unframing Photography project:

Aida Silvestri is a visual activist and educator of Eritrean descent based in the UK. Her innovative mixed-media portraiture and multi-faceted practice amplify marginalised voices and migrant/displaced/diasporic communities – raising awareness of human rights issues and representational politics in the arts and beyond. 

Chelsey Browne is a Canadian photographer and curator who divides her time between Folkestone and London. She studied Fine Art at Central St Martins in London and has curated over 20 exhibitions.

She is an established portrait photographer, travelling the world for VIP shoots with private clients including celebrities, presidents and Royal Families in the Middle East.

As well as project manager for Venice Agendas and Strangelove festival, she is the founder of Arts Council England funded projects Platform Art Projects and Print Editions Gallery.

#jacquitheartist is a character that has been created for the camera aiming to highlight the effect Neoliberalism has had on the individual and society. Repetition, humour, and absurdity are used to create a character that is desperate for attention and at the same times reveals the characters inner anxieties for approval and acceptance.

Lee Brodhurst-Hooper is a visual artist based in the coastal town of Folkestone, Kent. With a B.A and M.A in Photography, Lee has both an academic and creative background.

Lee has worked extensively in photography, having worked as picture editor for publications such as The Stool Pigeon newspaper, Artrocker Magazine, with photography commissions from Dazed and Confused, the BBC and The Guardian.

With a varied creative background, it’s Lee’s experience of working in creative strategy for organisations like Getty Images that have cemented Lee’s holistic take on photography.

Lee’s photographic work is centred around behaviour, through his voracious fascination with people, and their lives. He’s particularly interested in tribes, and their unique visual nuances and behaviours.

Using a mixture of traditional film techniques and digital practice, Lee aims to capture emotion and reality of each of his subjects and their surroundings, creating visuals that tap into a feel, and start a conversation.

Matt Rowe is an artist,  photographer based in Folkestone.

Rowe’s practice is focused on vernacular symbols and the language of folklore.

He often combines various disciplines, ceramics, model making and textiles to produce sculptural costumes and props that play with notions of regional and local identity. 

Continually photographing his structures, he is developing a portfolio of landscape images that blur the real and the imaginary conveying a sense of indigenous folk practices and mysterious phenomena lurking in the routines of daily life.

Born Wakefield 198, Rowe studied ceramics at University of Wales Institute, Cardiff.

Recent shows include:

John barley corn must die, New Brewery Arts. Cirencester 

The 58th art video program, Hiroshima City Museum of Contemporary Art, Waking the Giant,  Fort Burgoyne, Dover.

“I find the everyday world an exciting and intriguing place, and for the last few years, one aspect of my photographic work has been the daily use of a small film camera to photograph the ordinary and everyday events around me, extending notions of the family album and the diary where daily events are celebrated and memories constructed.

I was Senior Lecturer in Charge of Photography at Sir John Cass School of Art in London to 2018 when I left to concentrate on my own practice. I have also had various exhibitions and run photography workshops in this country and abroad.”

Photo by Heather McDonough

Thierry Bal is a photographer specialised in contemporary art. He creates photographic work with and for artists, and commissioned photography for galleries, arts institutions and editorial publications internationally. His approach to photography is to place and apply it in relationship

to other art forms, such as dance, architecture and moving image.

Let’s focus our lenses on the presence and influence of photography in our life!

Thanks to the supervision of Photo Co-op Folkestone the 10 x photographers participating on the project have been selected!!!

We are now starting the new phase of the project involving creative/critical discussion and new creations…

This video was created to present the Unframing Photography project to the participant photographers:

Intersubjective Photography

A visual interplay with others.

Seeing is a genuinely interactive experience that unfolds in intimate interplay both with the other senses and the things perceived (Gibson 1966, 1979; Merleau-Ponty 1968).

Far from being detached from any corporeal engagement (we cannot separate what is seen from how we see it), seeing is grounded in a dialogic relationship, an “inter-subjectivity” and “coincidence” between the perceiver and what is perceived, and thus involves an acknowledgement of the impact of the latter on the former (Merleau-Ponty 1968, 134–135). 

Seeing does not take place in front of things, but always among them, in a situated perceiving where things not only draw our attention but where we also are made part of the visible, as if exposed to their “look” (Benjamin 2003, 338)

Permanent Actions – Disposable Images. Exhibition at the Museum of Queretaro (Mexico)

El PhotoPerformer, Permanent Actions – Disposable Images  marked  the first exhibition of my alter-ego and its philosophy.


All the work exhibited was produced in Mexico during the period from October 2016 till January 2017. One of the themes of El PhotoPerformer exhibition was recycling: most of the material used for the exhibition was recycled and even the images were printed of recycled laser paper. The agreement with the curator and director of the museum Gabriel Hörner García was that at the end of the exhibition all the materials would be recycled for future projects.

For this exhibition The PhotoPerformer produced PhotoTotem, large sculptural objects containing images. The photographs in the objects functioned like memories of the objects.  The PhotoTotems incorporate many actions and, as I said before, they are destined to be dismantle and recycled.

As I stated on a text displayed on the walls of the Museum of Quaretaro: It is by creating, destructing and reinventing that we can reconcile with the power of photography.

Here the Poster used to promote the El PhotoPerformer, Permanent Actions – Disposable Images Exhibition:


If you can read in Spanish language here two links to articles on the exhibition:

La performance como alter ego de la fotografía

El fotógrafo más allá de la cámara

The PhotoPerformer in Action

I consider “Becoming an image” an act of transformation.

I become something that is not myself, it is an idea of myself. I become a conceptual object.

I accompany these image with words so to narrow your reading in support of my messages.


The PhotoPerformer is an atlhete of the image


The PhotoPerformer manifests him/herself through the symbolic pose of exchange




The PhotoPerformer is an anthropologist which is documenting his/her own life as a case study for the others


The PhotoPerformer is constantly carrying out the weight of his/her responsibility to communicate with and for the others


The PhotoPerformer is caged by the limits of the photographic medium


The PhotoPerformer made of photography his/her own religion


The PhotoPerformer exists through the gaze of the others


The PhotoPerformer is transgressing photographic rules


The PhotoPerformer is a creature among creatures


The PhotoPerformer is not alone!


The PhotoPerformer is aware of his/her ability to affect social memory


The PhotoPerformer aims to create a new mythology of photography


The PhotoPerformer is trapped into the power of the medium


The PhotoPerformer believes in photography as a tool of connection and exchange


The PhotoPerformer is a hunter of future memories


The PhotoPerformer believes in photography as the art of touching


The PhotoPerformer is considering photography as a game of authority


The PhotoPerformer is preoccupied by the paralysis of life through the image


The PhotoPerformer is fighting the distance that photography is creating


The PhotoPerformer is testing his/her sexuality through the lens


The PhotoPerformer encourages poetic madness as a creative tool of expression


The PhotoPerformer lives behind a thin layer of glass



“Becoming an Image is a ‘topos’: it testifies to an age-old urge to transcend the boundaries of space and time that confine the human body.” 

(The PhotoPerformer 2016)

Becoming a Video

In November 2016 I performed an action with the intention of Becoming a Video.

‘Inspiration 1’ was created as part of the Inspiration exhibition at ARTSPACEMEXICO Gallery in Mexico City. The piece is an element of a larger investigation between breathing (the art of breathing) and photographing (the art of photographing).



In November 2015 I performed an action with the intention of Becoming a Video.

During the action I have photographed every single person who have taken a picture of me.

The action performed around the Hangzhou lake (China) lasted 46 minutes.



In September 2015 I performed an action with the intention of Becoming a Video.

During the action I have taken a picture at every step of the church Nossa Senhora das Dores in Porto Alegre (Brazil).

Every shot is a sin toward fake immortality…

Every shot is a confession toward fake desires…

Every shot is a promise toward misrepresentation …



In June 2016 I performed an action with the intention of Becoming a Video.
In nature I have encountered the mirror image. I interpreted this experience as a reminder of a necessary transformation…from man with a camera into an animal with the camera.



Becoming a Choreography

I had the privilege to collaborate with a fantastic group of dancers during my residency at LOTE# . We discussed how to translate the language of The PhotoPerformer into a Choreography.

If the PhotoPerformer becomes a kind of way of living (through the image) this project helped me to think at a way of moving (outside the image)…

Becoming a Choreography

Here some documentation of the result…

Public Interventions

The PhotoPerfromer desires the encounter with different audiences and sometimes the street ( or other public spaces) offers a better challenge for the work presented then the safe walls of the gallery…


“If photography is an addiction, the act of photographing is the cure.”

(The PhotoPerformer 2016)

The PhotoPerformer embraces the poetic act of photographing as a medicine against the prescribed way of behaving.

The PhotoPerformer is imitating diversity.

The PhotoPerformer is communicating through the pose.

The PhotoPerformer is practicing photography as a phylosophy to encourage transformation.

The PhotoPerformer is celebrating movement through stillness.

– The PhotoPerformer is using photography to trace a map so to get lost.

– The PhotoPerformer is active because she/he feels a sense of urgency.

The PhotoPerformer is turning her/himself into an object, and, most particularly, an object of vision: a sight.

– The PhotoPerformer is documenting new forms of behaviour.

The PhotoPerformer is practicing a new gym of the mind. A process of expansion through imagination.

The PhotoPerformer is using photography to break any form of evidence. The only certainty is a constant sense of insecurity.

– The PhotoPerformer is convinced photography can create a bridge between personal and collective imagination.

The PhotoPerformer is transgressing photographic rules and conventions.

The PhotoPerformer is portraying the contemporary society of the self, so to cure it.

The PhotoPerformer is constantly looking for new relationships for creative exchange.

The PhotoPerformer is believing in the contraddiction as an healthy condition.

The PhotoPerformer is using photography as a licence for creative (alternative) behaviour.

The PhotoPerformer is perpetually changing and evolving.

The PhotoPerformer moves, stops and moves again in search of finding a specific moment of satisfactory stillness.

The PhotoPerformer is performing disfuctional actions that represent life.

The PhotoPerformer is constantly busy in performing her/his act of photographing.

The PhotoPerformer demostrates she/he is alive by using the tool of death.

The PhotoPerformer is exercising creative trainings to examine ideas through different lenses.

The PhotoPerformer is a living paradox: she/he is documenting a virtual life by acting a real one.

The PhotoPerformer is moved by her/his imagination.

The PhotoPerformer is an ever growing series of potential photo-actions…

‘This text doesn’t want to be read as a manifesto or an artist statement but as a text in constant development with the objective to activate its readers’

[the PhotoPerformer 2016]

Inspiration – Live Performance @ ArtSpaceMexico Gallery


Exercise for vital photography.

“In a world turned into images, I breathe photographs.

In a world of global inequality I breathe photographs.

In a world of unregulated competition, I breathe photographs.

In a world of excessive production, I consume myself.

In a world in search of solutions, I dialogue with my breathing to oxygenate my imagination.”

Photo-breathing is an exercise of connection between my most functional action (breathing) and my most dysfunctional addiction (photographing).

Respiration can be the deepest photograph of my emotions.

While I’m photographing my breathing, I invoke the images woven around the inner wall of my body.

While I’m photographing my breathing, I’m syncing my internal with my external image.

While I’m photographing my breathing, I’m closing my eyes and picturing behind the surface.

While I’m photographing my breathing, I’m tensing my body and releasing my visions.

While I’m photographing my breathing, I’m giving light to the darker side of my memories.

While I’m photographing my breathing, we can all listen to the voices of all the images stored inside my cavities.

While I’m photographing my breathing, I have the tendency to become mechanical but the creative impulse will help me to break the program.

While I’m photographing my breathing, my mind becomes a bit dizzy and the focus becomes my pure uncertainty.

While I’m photographing my breathing, I stop anticipating my stimulus and the entire activity become more unpredictable.

 My photographic capacity is built-in to the anatomy of my body.


Within the gallery I constructed a pulmonary space in which I was heavily breathing and picturing my over-oxygenation. The audience could see me through my photographs and hear my exhaustion.

The Rhythm, tension and sound of my breathing were like words photographed to be interpreted.

I photographed my rib cage in full expansion and I picture a camera obscura ready to give birth to a new visualization.

Every photograph is an encouragement for another breath.

When my photographing is guided by my breathing it looses its rationality and become an involuntary impulse.

Photo-Breathing allows me to photograph a body in tune with its limits.