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Milo Lethorn
14 followers
14 followers
About
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11/18/16
5 Photos - View album

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'365 Projects: A Year In The Life Of…' ran by Kent Creative Arts CIC is a community movement designed to record a year in the life of a town or place through one photograph for each day of the year, taken by the residents of said location. The resulting submissions are exhibited and visitors are invited to comment on how they perceive their community in relation to the images shown. The project 'shows the different views, styles and feelings that each photographer brought in, with photographs featuring people, events, places etc that are around them'.

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27/10/2016
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This single board of images serves as brief chronological evidence of my place within the immediate family; my parents both feature heavily on the first "block", their time living together in Glasgow and Israel before settling in London. The second block introduces me as a baby and this continues into the third before my little brother appears. The negative space that surrounds the collective blocks has been consciously implemented as a reference to our geographical isolation from the rest of a vast family, absolutely none of whom live in England.
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'Embodied Islands' running this month at the Belgrade Theatre, some interesting cultural aspects discussed...
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9:00-9:20
In response to the task, I have recorded my walk to university via the video function on my camera suspended and sitting at my chest; taking screenshots from the footage afterwards has left me with a catalogue of almost voyeuristic frames. The deliberate lack of stabilisation combined with the known distortion of a rolling-shutter created a conscious look of movement to the subjects and scenes encountered on my commute.
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13/10/2016
10 Photos - View album

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'Ideogram2016'

Attempting to pass comment on the landscape of human form and the representation of such in the modern day, 'Ideogram2016' contains within itself a duality; whilst recognising the controversy surrounding supposed sexual liberty there exists an aggressive social censorship for just that. The title of the work stems from an intended satirical element, the placement of emoji, and the role of such as a worldwide ideogrammatic language for the modern day.

The six images that make up the series have a distinct purpose in their adherence to Roland Barthes' theory of the studium, a feedline-like background wash, and the punctum, a visual punchline that sparks attention from the viewer (Barthes 1980). Settled in a hazy, grain clad background is the female form, a consistent studium with no intention to command the attention of the viewer. The punctum then, the supposed intellectual worth of each image, is seemingly slapped upon the work in the guise of a corresponding emoji. With this in mind, 'Ideogram2016' could very well be considered a feminist body of work; despite the apparent reduction of the female form to background haze, it is just that which serves to highlight this abstract state that, through censorship, somewhat exists in reality.

The series makes no attempt at changing the world; only to sit back, have a chat and poke fun at it for a while.
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2016-05-20
6 Photos - View album

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Earlier this afternoon, whilst in a pub with some friends, I couldn't help but notice the man who had just sat down; on the table he placed two pint glasses of lager and sat there in peace, simply staring into space from the corner of the room.
Assuming that he had someone meeting him, I wanted to capture the lonesome tranquility before he became pre-occupied with company. I approached him, introducing myself before complimenting how the light from the window fell on his face and asking his permission for a portrait. As John and I shook hands I felt a sense of shyness or insecurity from him; "I hope I haven't broken your camera" he joked before admitting "I have a mirror at home but I try to avoid it".
Only minutes after our encounter I glanced over to see John drinking the second pint and realised he'd been alone all along.
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from our large format workshop with Jon today
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I, like millions my age, am undeniably part of the modern phenomenon that is 'selfie-culture'; I felt this fact impossible to ignore when considering the concept of self-portraiture. 
Whilst widely hailed as a 'social' activity, approaching this task created a humbling realisation that I am so often physically alone in the act, "caught" in a moment of vanity and boredom intwined. The image submitted has been constructed with the intention of acting as voyeuristic evidence for such; a supposedly candid recreation of what  would become my 'profile picture'.
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Coptic stitch binding with Emma
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