ISSUE ONE - YOUTH
chrono collective Capturing the Now
Editors and Contributors contributers
editors content editor Bertie Oakes contenteditor.chrono@gmail.com
peter flude @peterflude peterflude.com
design editor Max Searl designeditor.chrono@gmail.com
jack dalby @jakjoesph
photographs
front cover: jack dalby, joseph roberts standing in the light inside the arnolfini gallery. back cover: max searl, school disco at the underground, plymouth.
max searl @maxsearl maxsearl.com maya wanelik @maya_pandora_ mayawanelik.org
submit
bertie oakes @bertieoakestakespictures bertieoakesphoto.com
submit to us via email: submit.chrono@gmail.com
edward black @edwardblackphoto edwardblackphoto.com
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Contents 5
FOREWORD
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PETER FLUDE
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JACK DALBY
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INTERVIEW: SCHOOL DISCO
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MAYA WANELIK
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EDWARD BLACK
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Alex by Bertie Oakes
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FIRST AND FOREMOST, THE FOREWORD
I
t is with great excitement that myself and fellow creator, Max Searl present this first issue of Chrono. It is crazy to think an idea brought up in a casual conversation with Max, and fellow Chrono member, Jack Dalby less than a month ago has now been actualised and is here for all to see.
Our aim for Chrono Collective is to showcase the best young and unexposed talent within photography - those who are somehow reflecting our times within pictures, and present this work within a magazine format. We also wish to run an interview with young creatives in other fields such fashion and music each issue. The idea behind the name Chrono comes from photography’s inherent relationship with time. Naturally any photograph reflects time, as it is in fact a visual capture of it, whether it be one thousandth of a second, one-hundred-and- twenty-fifth of a second, or an hour. We want to place an emphasis on work that really does visually reflect what it means to be a young person right now. Equally we wish to feature work that follows a chronology: unfolding stories told in pictures. As students on the Press and Editorial course in Falmouth, you hear a lot of people talking about Falmouth as a ‘creative hub’. Without collaboration, it does not necessarily always feel that way, but having gathered work from just a small group of student photographers on our course we are starting to feel as if we are realising that label. We are very proud of the content we have to showcase in this first issue and are looking forward to expanding and finding more unexposed photographers from further afield in the near future. With four issues already planned and a new theme heading every issue, a lot more can be expected from Chrono; this is just the beginning! Bertie Oakes Co-Creator and Content Editor of Chrono Collective
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Peter Flude The Camp
K
ofinou Reception Centre is an isolated camp nestled in the hills of Larnaca, Cyprus. It houses a community of around 350 refugees, most of whom come from wartorn Middle-Eastern countries such as Syria, Palestine and Iraq as well as African countries threatened by civil war and thus prospects such as child soldiers and militias. Kofinou is one of the smaller refugee camps in Europe and as such receives little to no attention from the press and is severely underfunded as a result. Last year I went there with my camera to document the living conditions and shed a light on the many young people who were experiencing their youth in the restrictive confines a refugee camp. On my first day there it was a searing hot 30°C, even hotter than what many of the camp’s residents were used to back home. The main streets of the camp were stained from a sewage leak that had flowed through a few days before, and were mostly deserted as the majority of people took shelter from the heat inside their homes. Many residents are unaccompanied teens and young men who have been living in the camp for years, either waiting for their asylum to be accepted (giving them the right to live and work outside of the camp), or appealing to move on to another country. Refugees are supposed to get a decision on their status within 6 months, though in reality it often ends up taking years.
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Many have been forced into a state of limbo, stuck somewhere they don’t want to be without the ability to work and with nothing to do but sit inside day after day in the blistering summer heat. Rates of depression are high in Kofinou, particularly among young men, and it’s not difficult to see why. Self-harm and drug use is an issue with some young residents and has been spawned by this limbo they are stuck in. A boy from Somalia arrived at the camp when he was 15 and was even denied an education in Cyprus. He is now 17 and still legally a child, meaning that as well as being denied access to local schools and colleges, he is not even allowed to apply for work. The attitude among most of the young men I met was that of hopelessness and a general feeling that Cyprus does not care about them. I was struck by the contrasting positivity of many of the younger children I met when visiting families in the camp. For some of them this environment is all they know. The camp’s begrimed streets are their playground, and the other refugee children are simply their neighbours and friends. They seemed blissfully unaware of the challenges that they face in the future. I found myself thinking about how many of these children would turn from boys to men in the time while the Cyprus government decides on their family’s fate. I hoped that at least some would be able to escape with some of their childhood still remaining.
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“Rates of depression are high in
Kofinou, particularly among young men, and it’s not difficult to see why.
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Jack Dalby Photographing youth
L
ike the work of Roger Mayne, and his documentation of London’s first generation of ‘Teenagers’, I have always been fascinated by my generation. From how we dress, to how we talk and act, what we do and what we are listening to, I am always registering it. Yet it is not a desire to document my generation that drives me, it is more that by having a camera in my hand it allows me to capture moments in time that otherwise would pass and be forgotten. This I believe stems from my discovering of Chad Moore’s work, which was before I had begun shooting film and taking photography seriously. Actually, Moore’s work was one of the reasons I wanted to take photography seriously, I was just in complete awe of it when I first saw it. An article in Dazed summed up his work as perfectly capturing our obsession with youth and I believe I share that obsession and aim to capture it. That’s why most of these photos are of friends: in my eyes friends are my greatest subjects.
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Interview: School Disco Images and Interview by Max Searl
I
first met the boys through friends of friends at various gigs in my midteens, now School Disco; a garage band with strong influences from surf rock are making headway in the South West’s music scene as well as further afield. I recently caught up with lead singer Rory, dummer Laur and bassist Troy to talk about the band and the upcoming plans for the future. Max: School Disco, where and how did the band form? Rory: We formed the band about a year ago in Plymouth. I was in another band with Troy our bass player who was playing drums at the time. Laur, our now-drummer I have known for years and was in another band... we decided we wanted to do something a little different from our previous bands: that’s how School Disco came about! M: How did you come up with the name? Laur: I thought of School Disco because it would be funny how not-school disco friendly we’d be. M: Who are some of the musical influences of the band? R: A few of the bands we are into area My Bloody Valentine, CAN, Thee Oh Sees, tonnes of 60s surf rock, The Brian Jonestown Massacre, King Gizzard and Spacemen 3.
M: What is the importance of starting a band when you are still in your teens? R: I think it’s important because it’s probably gonna take a little bit of time to develop your song writing so the earlier you do it, the better it will become. Also, it’s just great fun so there is no reason not to start as early as you can. M: What advice would you give to a group of musicians wanting to start a band? R: Just do it. Don’t think about what other people are gonna say or think about it too much because it doesn’t matter. I’ve had some of the best fun ever playing in bands. Even if you end up being bad, it doesn’t really matter because at least you’ve done it and that’s more than most people. M: With the recent release of your EP, what is the next thing you’re working on? R: We are gearing up to release our first LP titled: ‘Mongolian Disco Show’ which features ‘Soul Boy’ and a lot of the songs we have played live, it will be out on the 22nd of July. M: You recently released ‘Soul Boy’ as a single, how did it’s release come about? R: We had booked some studio time and realised it (the EP release date) was closer than we had expected, so were manically trying to write a couple more songs. The riff I originally wrote on keyboard and it was in a different key. I showed it to the rest of the band on guitar who really liked it and we came up with a structure based around the riffs. I asked Laur to write the lyrics and sing it, just to see where he could take it rather than me. He took it in the opposite direction of where I had originally planned but I’m glad he did it as he smashed it. M: The first piece of music that you bought yourself? R: First CD I can remember buying was Black Sabbath: Paranoid T: I think it was Mongol Horde By Mongol Horde L: The Queen is Dead By the Smiths and Song Remains the Same - Led Zepplin
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M: What is your musical guilty pleasure? L: Wham is definealty one for all three of us. R: Abba but it’s not even a guilty pleasure. M: What music are your currently listening too? R: I’ve been listening CSN, CAN, Ride, Spacemen 3, Slint and Spiritualised. I recently Purchased Tinned Fruit’s New album ‘Sad Boys’ on vinyl , which is AMAZING. We got to play with them a while ago and they were breathtaking. Looking forward to playing with them again. I’m also really looking forward to the next King Gizzard album. L: Im really into Mild High Club, Chic and King Gizzard at the moment. M: Best way for people to listen to your music? R: All our music is available on all major platforms but we recommend Spotify , Soundcloud , Bandcamp on YouTube. Just search for ‘School Disco’. M: When is the next time people can see you live? R: 27th of May at The Underground in Plymouth in support of the Labour Party and then we are having a short break for exams. M: It’s been a pleasure boys, any last words? R: Yeah thanks for having us Max. I’d also like to thank everyone who has come to the shows and supported us in any way: the BFA lads, Threads, Rainmaker, Benji, Ben and Lauren of the Underground, Tinned Fruit, The Velvet hands and anyone who has taken a general interest in us. L: Just keep on rockin in the free world.
Above: Rory, transfixed on the crowd. Previous Top: Laur sings into his microphone whilst playing drums. Previous Bottom: Rorys loop and effect pedels.
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Rory on lead guitar
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Troy on bass 27
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Maya Wanelik Inglot at lfw
T
his photo series was shot in February 2017 at INGLOT’s debut in London Fashion Week (LFW) with the fashion designer Kristian Aadnevik. INGLOT is one of the world’s leading manufacturers of colour cosmetics. It has featured in many fashion events around the world, and collaborated with a number of major Broadway shows such as The Lion King and Mamma Mia! LFW gave me a unique insight into the intense preparation process that always precedes the fashion show. I was able to watch how the glamorous look was created from scratch by teams of different artists. In addition to capturing the before and after looks of the youthful fashion models, I wanted to document the atmosphere behind the scenes and the nitty-gritty realities of the entire preparation process. The order of these preparations is as follows: model signs in, gets make-up done, gets hair styled, gets nails done, and then tries on garments and does a practise run in front of the designer who verifies that everything is as desired. However, sometimes this step-by-step process needs to be sped-up due to time constraints. If this happens, all creative work has to be done simultaneously and completed in a fraction of the time originally allocated. This is when the synergy of skills of many different fashion-industry professionals can be observed at its best; I attempted to capture this in the following series.
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“I wanted to document the
atmosphere behind the scenes and the nitty-gritty realities of the entire preparation process.
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T
his series was brought to life after I discovered the Stratford Centre having seen some written pieces about it online. I noticed that all of them were short and didn’t have many photographs documenting the place so I decided to go and check it out myself. It sits across the street from Stratford tube station in East London and it is one of the best representations of just how London has changed since I first moved there. On one side, there’s the shiny new gleaming, Westfield Shopping Centre, and in stark contrast on the other side of the station is Stratford’s original shopping centre. Ever since London got the bid for the Olympics, which was held in Stratford, it started several projects to regenerate areas around London, the most important area being Stratford. The regeneration prompted a lot of gentrification, helped along by luxury flat developments which in turn has slowly pushed out Stratford’s strong working class community. Now, the original Stratford Centre is open 24 hours a day, 7 days a week because it operates as a through way for pedestrians getting to West Ham
EdWard Black Stratford mall and other areas East of Stratford. And in the mix of the constant stream of pedestrians passing through is this incredible subcultural hub: In this struggling-to-survive mall, is a mix of rollerskaters, freestyle skateboarders, skateboarders and dance crews. In a London where space for luxury flats seems to be the only agenda for any new developments, more and more teenagers are left struggling to find spaces to simply be teenagers. And right there, in the heart of Stratford is the most unique space of them all. Amongst all the pedestrians and the homeless people settling down for the night, the dance crews set up their portable amps and liven up the place with vibrant music. I met with a group of three young men hanging out dancing their style of boppin to hip hop beats whilst another crew would jump in on the more aggressive songs with the crump style of dance. The biggest group there were the roller skaters, hanging around kicking it, whilst some would zip up and down the mall whizzing past nervous pedestrians. The skateboarders stuck to their patch in the
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North Mall, doing tricks over small metal strips originally laid down to discourage the skateboarders. The freestyle skateboarders stuck to themselves the most, staying in one corner doing their tricks and hanging out. The really important thing about this place is that it’s very much undisturbed, which has become so rare in London. Even though security do the rounds every once in a while, the teenagers spark spliffs, the homeless get blind drunk and pass out asleep in their sleeping bags, the music is loud, the people are loud.
But still, everyone is enjoying themselves and no one is taking it away from them. With all this being said, it does feel like the rebellious subcultures that thrive in the Stratford centre will have to find a new home in the near future because in today’s London there’s always rules waiting to be implemented. The DIY spirit will live on, just where, I don’t know.
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“In a London where space
for luxury flats seems to be the only agenda for any new developments, more and more teenagers are left struggling to find spaces to simply be teenagers...
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