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Graham MacIndoe | Exhibition | Sainsbury Centre | Nov 23 – Apr 27, 2025
Heroin Falls highlights the realities of heroin addiction through the juxtaposition of two different worlds through the eyes of two incredible photographers.
The exhibition aims to show connections which will lead viewers to acknowledge substance misuse is a global challenge that transcends race, location and class.
Magnum photographer Lindokuhle Sobekwa (b.1995) aims his lens at a group of young men from a South African township Thokoza whom have turned to using nyaope. Nyaope is a low-grade form of heroin which can be mixed with many different bulking agents including cannabis products, antiretroviral drugs, as well as other materials. Sobekwa documents their journey, capturing their daily activities and chores, whilst part two of his project is redemptive, focusing on rehab and introspection.
Most documentary projects about addiction expose someone else’s self-destructive behaviour, but Scottish born, New York based photographer Graham MacIndoe (b.1963) took a very different approach: he photographed himself during the years he was addicted to heroin. He’d place a cheap digital camera on a table or bookshelf, set the self-timer to take a photo every so often, then turn his attention to the rituals of his habit. The resulting photographs document the harsh realities of drug addiction and the photographer’s use of the artistic medium in his own recovery.
Hannah Whitaker | Solo Exhibition | Marinaro Gallery | Sept 3 – Oct 5, 2024
Hannah Whitaker
Stranger
September 3 – October 5, 2024 | Marinaro Gallery
Marinaro is pleased to present Stranger, Hannah Whitaker’s third solo exhibition with the gallery.
In Stranger, Whitaker continues her exploration of a technologically-mediated life through the fictional character she calls Ursula. Drawing from the archetype of the synthetic woman, found in books, films, and in contemporary tech, Ursula inhabits a heavily styled techno-futuristic world. She is silhouetted, leaving her contours visible, but not her individual features. The result is a playful critique of a visual culture that often fails to depict women and femmes with their full dimensionality.
The show features six photographs, all UV-printed directly onto hand-painted panels. While they may appear to be heavily digitally manipulated, all of Whitaker’s images are achieved in-camera through the use of mirrored props, reflective fabrics, consumer-grade selfie lights, custom-made sets, printed backdrops, a two-way mirror, and rear projection. With these images, Whitaker introduces mirrors that were laser-cut into Ursula’s own likeness, implying her replicability, like our own digital personas, avatars, and zoom replicants do.
