L L A " D E K S -A
*AMES 2EID ,AURA (ENSSER 3TUART 3OUTHWELL
0HOTOGRAPHS BY
0ROOF READ BY
*AMES 2EID JAMES JAMESREIDPHOTOGRAPHY COM
!NNE -ARIE 'LASHEEN EDITOR VIEWüNDER ORG UK
,AURA (ENSSER LAURAHENSSER GOOGLEMAIL COM
$ESIGN BY
3TUART 3OUTHWELL JACKNIFE STEIN HOTMAIL CO UK )NTERVIEW BY %LOISE $ONNELLY ELOISEDONNELLY GMAIL COM 0OEM BY
-ANDANA !HMADVAZIR DESIGNER VIEWüNDER ORG UK !LSO AVAILABLE AS A COLOUR E PUBLICATION WWW VIEWüNDER ORG UK SHOP 0UBLISHED BY
%LIZABETH 'OWING ELIZABETHGOWING HOTMAIL COM
6IEWüNDER 0HOTOGRAPHY 'ALLERY ,INEAR (OUSE
0EYTON 0LACE OFF 2OYAL (ILL
'REENWICH ,ONDON 3% 23
#URATED BY
WWW VIEWüNDER ORG UK
,OUISE &ORRESTER LOUISE VIEWüNDER ORG UK
&IRST PUBLISHED -ARCH
%DITED BY ,ISA 2OBERTSON EDITOR VIEWüNDER ORG UK
4HE ARTISTS AND AUTHORS 4HE VIEWS EXPRESSED IN THIS PUBLICATION ARE NOT NECESSARILY THE VIEWS OF THE PUBLISHER OR THE EDITORS
)NTRODUCTION
4HE GROUP EXHIBITION -ASKED "ALL PRESENTS PORTRAITS OF PEOPLE IN A VARIETY OF MASKS p FROM ANIMAL HEADS TO CHEESE SLICES #URATOR ,OUISE &ORRESTER COMMENTS !LTHOUGH EACH PHOTOGRAPHER IS USING MASKS IN PORTRAITURE THE RESULTS IN EACH SERIES IS MARKEDLY DIFFERENT 3OME UNSETTLING SOME FUNNY THERE IS SOMETHING HERE FOR EVERYONE !CCOMPANYING THIS EXHIBITION .IGEL 2UMSEY PRESENTS A POP UP PHOTO BOOTH IN THE GALLERY ON 3ATURDAY 3UNDAY -ARCH PM -EMBERS OF THE PUBLIC WILL BE ABLE TO TAKE THEIR OWN SELF PORTRAIT EITHER MASKED OR UNMASKED IN THE BOOTH 0HOTOGRAPHS TAKEN WILL BE PRINTED OUT ON THE SPOT FOR THE SITTERS TO TAKE HOME AND INCLUDED IN A SLIDESHOW OF IMAGES PROJECTED IN THE GALLERY ALL WEEKEND 4HIS IS A UNIQUE OPPORTUNITY TO INTERACT WITH AND BECOME PART OF AN EXHIBITION 3O WHILE YOU STILL HAVE THE CHANCE DROP BY THE GALLERY AND TAKE PART
)NTERVIEW WITH *AMES 2EID *2 ,AURA (ENSSER ,( 3TUART 3OUTHWELL 33 BY %LOISE $ONNELLY
o 7HAT INSPIRED YOUR INTERESTS IN MASKS
*2 ! CHANCE MEETING ,( 4HE IDEA INITIALLY CAME FROM A STRONG INTEREST IN SACRED MASKS 4HIS CONCEPT OF HAVING HIGHLY DISTINCTIVE FORMS PLACED ACROSS THE FACE TO DISGUISE OR TO OFFER A PROTECTION FROM SOCIETY 4HE ACTUAL FORM OF THE MASKS AND BY COVERING MY ENTIRE FACE WAS AN IDEA OF HIDING THE MAIN AREA THAT IDENTIüES ME THE MOST 4YPICALLY A MASK IS USED TO PROTECT ONESELF SO BY ONLY REVEALING A LIMITED PART OF MYSELF ) AM CONCEALING SELECTED AREAS THAT ) DO NOT WANT TO BE SEEN AND IN TURN EXPRESSING INNER THOUGHTS 33 (ORROR üLMS STARTED MY INTEREST AND FROM THERE IT GREW o (OW DID YOU INITIALLY SELECT THE MASKS THAT WOULD BE USED IN THE üNAL PIECES *2 4HEY WERE SELECTED FOR ME ,( 4HE MASKS ARE BUILT UP AROUND MY FACE AND INITIALLY ) HAD NO IDEA WHAT THEY WOULD LOOK LIKE /NCE THEY HAD TAKEN ON THE FORM AND SHAPE OF MY FACE THE MASKS BECAME VERY OBSCURE AND SKIN LIKE )T WAS ONLY WHEN TEST SHOOTS WERE üNISHED THAT ) COULD SEE THE üNAL MASK ! LARGE AMOUNT OF ALTERING TO GET THE üNAL SHOT BECAME VERY MUCH A PART OF THE MASK BUILDING PROCESS 33 ) SPECIüCALLY MADE EACH MASK FOR EACH CHARACTER 4O ELABORATE ONCE ) HAD THE IDEA FOR A CHARACTER ) SPECIüCALLY DESIGNED THE MASK WITH THE INTENTION OF AMPLIFYING EACH CHARACTER S IDENTITY AND PERSONA FOR EXAMPLE THE MASK USED FOR $OCTOR 0INTER "ELL ) CREATED FROM CUT UP FASHION MAGAZINES WITH THE AIM OF REFERRING TO HIS IDENTITY AS A PLASTIC SURGEON
o $ID THE IDENTITY OF THE WEARER AFFECT THE CHOICE OF MASK *2 4O SOME EXTENT ALTHOUGH THE SELECTION WAS MOSTLY RANDOM ,( 4HEY OBJECTS RELATE TO MY PERSONAL MEMORIES SO IT IS KEY THAT THE VIEWER IS AWARE THAT THE PHOTOGRAPHS ARE OF ME %VERY MASK AND OBJECT WERE CHOSEN IN RELATION TO MY THOUGHTS 4HE CHOICE OF OBJECT AND MASK CONCEALED AND THEREFORE AFFECTED MY IDENTITY (OWEVER THROUGH THE ABSENCE OF MY IDENTITY A NEW ONE WAS EXTRACTED AND IMPRINTED ON TO THE SURFACE OF THE MASKS -Y RELATIONSHIP TO THE MASK WAS FOREVER CHANGING
33 ) PLAYED ALL THE CHARACTERS THE MASKS WERE SELECTED FOR THE CHARACTER CREATED AND HIS OR HER IDENTITY o !S A PHOTOGRAPHER DID YOU üND YOURSELF REACTING DIFFERENTLY TO THE SUBJECT ONCE THE MASKS WERE PUT ON
*2 3LIGHTLY ,( !S BOTH PHOTOGRAPHER AND SUBJECT MY ROLE WHILST THE PHOTOGRAPHS WERE BEING TAKEN WAS CHANGING CONSTANTLY -Y RELATIONSHIP TO THE CAMERA BECAME VERY PERFORMATIVE AS IF ) WERE kACTING OUTl TO AN AUDIENCE ALREADY PRESENT ) WAS EXTREMELY AWARE OF THE CAMERA S PRESENCE AND POSITION %VERY MOVE ) MADE WITH THE MASK ON WOULD RESULT IN A LOSS OF ORIENTATION 4HE LENGTHY PROCESS AND CONCENTRATION OF WEARING THE MASK RESULTED IN BUILDING AN EVER CHANGING RELATIONSHIP 33 .O BEING PHOTOGRAPHER AND SUBJECT THIS DID NOT REALLY APPLY o $ID YOU üND YOUR SUBJECTSl BEHAVIOUR ADAPTING IN ANY WAY ONCE THEY HAD PUT ON THEIR MASKS $ID YOU FEEL IT WAS A COLLABORATIVE VENTURE *2 .OT AT ALL ,( /NCE THE MASK WAS ON MY SIGHT WAS COMPLETELY RESTRICTED %VERYTHING WAS SLOWED DOWN IN TERMS OF TAKING THE ACTUAL PHOTOGRAPH 4HE MASK BECAME A BARRIER AND ALMOST A DISABILITY RESTRICTING MY MOVEMENTS AND BREATHING ABILITY 4HROUGH BEING COMPLETELY HIDDEN ) FELT EXTREMELY EXPOSED WHEN IN FRONT OF THE CAMERA 4HE LACK OF AN IMPORTANT BODILY SENSE BECAME VERY DISCONCERTING 33 !GAIN AS IT WAS ME APPEARING IN ALL OF THE SHOTS NOT REALLY HOWEVER ) DID PURPOSELY CREATE THE BEHAVIOUR ) WANTED THE CHARACTER TO REVEAL o $ID YOU HAVE A VERY CLEAR IDEA OF THE PROJECT INITIALLY OR DID IT EVOLVE GRADUALLY AS MORE PHOTOGRAPHS WERE TAKEN *2 ) WAS CLEAR FROM THE OUTSET ,( 4HE PROJECT HAD ORIGINALLY BEEN MORE ABOUT MY RELATIONSHIP WITH THE OBJECTS NOT TO COMPLETELY COVER THE FACE TO MAKE IT MORE ABOUT A PARTICULAR MEMORY AND PLACEMENT 4HE MORE ) EXAGGERATED THE OBJECTS THE MORE THEY BECAME A PART OF MY FACE TO COVER THE WHOLE AREA WAS A NATURAL DEVELOPMENT (AVING ANY PART OF ME UNCOVERED WAS IRRELEVANT -Y CONTROLLED POSITION AND PHOTOGRAPHIC STANCE WAS A THEME THAT FOLLOWED THROUGHOUT THE WHOLE PROJECT 33 -Y IDEAS WERE CLEAR HOWEVER NOT SET IN STONE !S WITH ANY PROJECT ) HAVE ALWAYS FOUND IT BEST TO ALLOW THE PROJECT TO PROGRESS AND FORM NATURALLY RATHER THAN FORCING IT DOWN A PARTICULAR ROUTE
o (OW IMPORTANT WAS THE SETTING OF THE PHOTOGRAPHS TO THE üNAL IMAGES *2 6ERY IMPORTANT ,( )N TERMS OF THE SHOOT EVERYTHING HAD TO BE EXACT 4HE WHOLE PROCESS OF TAKING THE PHOTOGRAPHS BECAME VERY PARTICULAR AND CONTROLLED !S ) WAS WORKING IN A TIGHT SERIES LIGHTING AND CAMERA POSITION HAD TO BE DIRECT AND CONSISTENT 33 )T WAS VERY IMPORTANT &IRST ) ONLY WANTED THE VIEWER TO HAVE THE VISUAL INFORMATION OF THE CHARACTERS IDENTITY FROM THEIR COSTUMES AND MASKS 7ITH THIS IN MIND ) MADE THE DECISION TO HAVE A SIMPLE BACKDROP !FTER TRYING A FEW ) FOUND THAT DRAPES WORKED BEST THEY GAVE THE IMAGES A THEATRICAL FEEL AND APPEARANCE WHICH ) FELT TIED IN PERFECTLY WITH THE MAIN IDEA OF THE PROJECT o 7HAT ROLE DID THE ASPECT OF PERFORMANCE PLAY IN PRODUCING THE IMAGE *2 4HE SUBJECTS WERE ALREADY A SET PIECE PERFORMANCE ) HAD TO CAPTURE THEM AS ) VIEWED THEM ,( 4HE PERFORMATIVE ASPECT AND THE PROCESS OF TAKING THE üNAL IMAGE ARE EVIDENT THROUGH THE USE OF TIME AND SPACE ) WANTED TO CREATE AN IMAGE THAT WAS VERY STILTED SIMILAR TO A STILL LIFE PAINTING ) WANTED TO CREATE A STRONG RELATIONSHIP BETWEEN THE CAMERA AND MYSELF ) WANTED TO FEEL ITS PRESENCE AND TO FEEL PRESSURED BY THIS ONLOOKER TO PERFORM TO BECOME THE OBJECT
33 )T HAD A BIG PART TO PLAY ) SPENT A WHILE GETTING INTO CHARACTER BEFORE EACH CHARACTER S SHOOT WHEN THE CHARACTER WAS READY ) TOOK THE SHOT o 4O WHAT EXTENT DO YOU THINK THE POWER OF THE PHOTOGRAPHIC GAZE SHIFTS FROM VIEWER TO SUBJECT WHEN MASKS ARE USED *2 .OT AT ALL NO ONE WILL EVER KNOW WHO THESE PEOPLE ARE SO IT S IRRELEVANT ,( "Y EXPOSING MYSELF IN AN INSTANCE WHERE ) WOULD ORIGINALLY USE A SITTER THE CONVENTIONS OF A PORTRAIT BECOME VERY UNIDIRECTIONAL AND DISTURBED !S THERE IS NOT A DIRECT GAZE BETWEEN THE VIEWER AND MYSELF THE IMPLICATIONS OF DEVELOPING A RELATIONSHIP HAVE BEEN TAKEN AWAY ) FEEL AS THOUGH THE MASK IS CREATING A BARRIER THAT ) AM HOLDING SOMETHING BACK IN A WAY TO TEMPT THE VIEWER BUT NOT EXPOSE ALL ) AM HOLDING BACK AND ONLY REVEALING A SMALL PART OF A MEMORY OR SLIGHT BIT OF MY IDENTITY TO THE VIEWER !LTHOUGH ) FEEL THE GAZE FROM THE VIEWER WHICH INITIALLY COMES FROM THE PRESENCE OF THE CAMERA ) THE SITTER AM IN CONTROL AND CAN DIRECT THE VIEWER S GAZE AWAY FROM ANY PART OF ME )N TURN ) BECOME A PART OF THE UNKNOWN AND THE ANONYMOUS
33 )T DEüNITELY SHIFTS WHEN A SUBJECT USES A MASK HE OR SHE IS RESTRICTING THE VIEWER 4HROUGH THE WITHHOLDING OF FACIAL EXPRESSIONS THE VIEWER IS LEFT PARTIALLY BLIND TRYING TO GATHER INFORMATION FROM THE SUBJECTlS BODY LANGUAGE CLOTHING AND EYES !S A RESULT THE POWER SHIFTS TO THE SUBJECT WHO IS IN CONTROL OF SHOWING AS MUCH OR AS LITTLE AS HE OR SHE WANTS
o (OW DOES THIS SERIES RELATE TO YOUR OTHER WORK AND WHAT ARE YOUR PLANS FOR FUTURE PROJECTS *2 4HIS SERIES FALLS INTO MY INSTALLATION TYPE IMAGERY IT HAS MOTIVATED ME TO MAKE SOMETHING OF THIS WORK AND PRODUCE SOMETHING VERY DIFFERENT FROM IT ,( !N UNDERLINING ASPECT OF THE PROJECT IS THE BALANCE BETWEEN TWO OPPOSING THRESHOLDS (ERE ) AM COMMENTING ON THE IDEA OF SUBJECT AND OBJECT THIS TRANSITION BETWEEN BOTH STATES )N OTHER WORK ) HAVE CONSIDERED THE MIDDLE AREA BETWEEN THE TWO USING MYSELF TO BECOME THIS kOTHERl MIDDLE REGION )N A SENSE ) AM CREATING A PHOTOGRAPHIC ALTER EGO CONTROLLING CERTAIN ELEMENTS OF MYSELF ) WANT TO REVEAL )N THE NEAR FUTURE ) AM CONSIDERING THE IDEA OF IMITATION OF THE LANDSCAPE THROUGH THE RELATIONSHIP OF IMAGE AND OBJECT QUESTIONING THE CONVENTIONS OF SCULPTURE AND PHOTOGRAPHY 33 ) HAVE USED MASKS IN OTHER PROJECTS AND THE GROTESQUE HAS BEEN A DOMINANT THEME WITHIN MY WORK FOR SOME TIME 4HIS IS AN OPEN ENDED PROJECT ) HAVE PLENTY OF IDEAS FOR NEW CHARACTERS TO BUILD ON THE FAMILY MAYBE ANOTHER GENERATION OR TWO !LSO ) HAVE PLANS TO TAKE THESE CHARACTERS INTO EVERYDAY SCENES MIXING THE ORDINARY WITH THE EXTRAORDINARY
,AURA (ENSSER LAURAHENSSER GOOGLEMAIL COM
-Y AREA OF PHOTOGRAPHIC PRACTICE WITHIN k3TILLl IS AN ATTEMPT TO QUESTION THE RELATIONSHIP BETWEEN THE PERSONAL SELF AND EXTERNAL CAMERA VIEWER ) HAVE POSITIONED MUNDANE OBJECTS AROUND MY HEAD TO ILLUSTRATE MEMORIES THAT HAVE BECOME DISTORTED THROUGH TIME 4HESE EXAGGERATED SCULPTURAL FORMS ARE REMINISCENT OF SACRED MASKS AND REFER TO THE THEMES OF PROTECTION AND CONCEALMENT (AVING THIS LIMITED ABSENT VIEW OF MYSELF AND HIDING BEHIND A FALSE FA¾ADE CHALLENGES THE CONVENTIONS OF PERFORMANCE BASED SELF PORTRAITURE ) HAVE TURNED MYSELF FROM A SUBJECT INTO AN OBJECT OF A PARTICULAR MEMORY AND IN TURN HAVE CREATED ELEMENTS OF TIME AND SPACE "Y BRINGING MY INTERNAL THOUGHTS TO MY EXTERNAL SURFACE ) STRIP MYSELF OF ANY CURRENT IDENTITY AND SUCCUMB TO A NOSTALGIC SELF 4HROUGH THE USE OF ,ARGE &ORMAT ) AM ABLE TO PRODUCE HIGHLY DETAILED AND STRUCTURED PIECES OF WORK 4HIS LENDS ITSELF TO AN EXAMINATION OF MY INTERESTS IN CONCEPTUAL AND PROCESS BASED WAYS OF WORKING
*AMES 2EID JAMES JAMESREIDPHOTOGRAPHY COM
! MASKED BALL IS A CARNIVAL TYPE EVENT WHERE GUESTS DRESS UP IN COSTUMES AND MASKS WHICH OFTEN SERVE AS A POINT OF SOCIAL INTERFACE 4HE INTRODUCTION OF ANIMAL MASKS HOWEVER CHANGES EVERYTHING ! HUMAN WITH AN ANIMAL HEAD PRESENTS A COMPLICATED DEPARTURE FROM THE NORM IT CONFUSES DECEIVES AND POTENTIALLY THREATENS 4HESE IMAGES CAPTURE A NARRATIVE BETWEEN THE HUMAN CONDITION AND THE ANIMAL CONDITION (UMANS ACT ENTIRELY DIFFERENTLY FROM BEHIND A MASKED VENEER WHICH HIDES THEIR APPEARANCE AND FACIAL GESTURES 4HIS IS EXACERBATED BY USING ANIMAL MASKS AS ANIMAL FACIAL FEATURES OFTEN REMAIN CONSTANT IN TERMS OF THEIR CHARACTER 3HOT ON LOCATION INSIDE MAJOR LABEL BOUTIQUE STORES IN 0ARIS THE ABOVE TECHNIQUE WAS USED TO MARKET AND SELL CLOTHING IN A CONCEPTUAL WAY THE PRODUCT IS DEHUMANISED OR AT LEAST HAS A LEVEL OF ANONYMITY 0ERHAPS THE PSYCHOLOGY OF SELLING BRANDED CLOTHING COMES WITH THE NOTION OF ESCAPING ONE S IDENTITY )T S NOT ABOUT WHO YOU ARE BUT WHAT OR WHO YOU WANT TO BE WHAT YOU CAN REPRESENT IN A DIFFERENT AND INDEPENDENT WAY AND PLAYS WITH OTHER TRAITS AND CHARACTERISTICS THAT FORCE CHANGE WITH EGO PERSONALITY AND CHARACTER 4HE IMAGERY HAS A REVERBERATION THAT REČECTS THE ABNORMALITY OF THE SITUATION AND PROVIDES AN AESTHETIC VIEWPOINT WITH ATMOSPHERE AS YOU WOULD EXPECT AT A MASKED BALL WHERE EXPECTATION AND A SENSE OF ADVENTURE DRAWS YOU CLOSER INTO A POTENTIAL WORLD OF INTRIGUE m4HE CREATURES OUTSIDE LOOKED FROM PIG TO MAN AND FROM MAN TO PIG AND FROM PIG TO MAN AGAIN BUT ALREADY IT WAS IMPOSSIBLE TO SAY WHICH WAS WHICHn George Orwell, Animal Farm.
3TUART 3OUTHWELL JACKNIFE STEIN HOTMAIL CO UK
ma7E LIVE IN A WORLD WHERE COHERENT CULTURAL AND POLITICAL CENTERS CREATE CONDITIONS WHOSE FACES WEAR GROTESQUE MASKS AND WHOSE VOICES SPEAK ITS WORDS #ONDITIONS RELATED TO MATTERS OF ORDER AND CHAOS TO VIOLENCE AND FORMS OF OPPRESSION TO SEXUALITY AND THE BODY TO BIRTH AND DEATH TO CYNICISM AND MADNESS TO APOCALYPTIC DESPAIR AND UTOPIAN VISIONS p ALL VISIT US IN GROTESQUE FORMS AND GIVEN THEIR DEEP EMBEDDEDNESS IN OUR CULTURAL AND PSYCHIC EXPERIENCE THEY SHALL REMAIN A PART OF THE HUMAN JOURNEY AS THEY HAVE FROM OUR BEGINNINGS n Wilson Yates, The Grotesque in Art & Literature Theological Reflections. (1997) p.4
!PPLYING THIS IDEA TO IDENTITY IN MODERN 7ESTERN SOCIETY ONE STARTS TO SEE HOW WE COULD VIEW THE MODERN HUMAN AS GROTESQUE )T COULD BE ARGUED THAT THIS IS DUE TO IDENTITY BEING HEAVILY SHAPED AND FORMED BY THE MASS MEDIA 4HIS CONSTANTLY PROMOTES IDEAS OF LOOKING YOUNGER AND GAINING MORE WEALTH AND WE ARE TOLD THAT THROUGH THIS WE CAN GAIN SELF FULüLMENT AND A BETTER LIFE (OWEVER WHILST WE ARE BEING SHAPED BY THE MASS MEDIA AND ITS IDEAS OF SUCCESS AND BEAUTY WE DO NOT ACCEPT OUR TRUE SELVES )NSTEAD WE CREATE AN IDENTITY WHICH HAS BEEN MANIPULATED THROUGH THE INČUENCE OF POPULAR CULTURE AND ALL THAT THE MEDIA PROMOTES 7ITH THIS IN MIND WE HAVE BECOME PUPPETS THROUGH THE USE OF MASS MEDIA AND BEEN MANIPULATED TO CHANGE THE WAY WE THINK ABOUT OUR BODIES AND IDENTITIES .O LONGER CAN WE WALK DOWN THE STREET AND SEE PEOPLE FOR WHO THEY ARE 0EOPLE ARE JUDGED BY HOW THEY LOOK AND DRESS )F THEY DONlT üT INTO OUR PRECONCEIVED IDEAS OF BEAUTY WE EXPECT THEM TO CHANGE AND MANIPULATE THEIR BODIES )T COULD BE ARGUED THAT 7ESTERN CULTURES HAVE FORGED THEIR SOCIETIES INTO PERFECT REPRESENTATIONS OF THE GROTESQUE THROUGH THEIR OWN MEDIA (ELL NO LONGER EXISTS AS AN IDEA WE ARE LIVING IN IT
Mr Pinter. Born 1915.
Mr Pinter-Bell. Born 1920.
Ms Girard. Born 1919.
Mrs Pinter-Bell. Born 1933.
)DOLS Poem inspired by the exhibition BY %LIZABETH 'OWING
-Y FACE IS A MAP 9OU MAY TRACE ON IT THE JOURNEYS ) HAVE MADE FROM JUTTED CHIN TO JOWL FROM OPTIMISM TO DISAPPOINTMENT IN THE CORNERS OF MY SMILE
FROM EYE TO EYE AS THE CROWS FEET ČY FROM MY GRANDFATHERlS NOSE TO MY DAUGHTERlS DIMPLING ) INK IN ALL THE JOURNEYS ) WANT TO MAKE THE CUPIDlS BOWS
CURTSIES OF EYEBROWS
LENGTHENING OF LASHES "RANDS BURN ACROSS MY CHEEKS !ND NOW TODAYlS JOURNEY HAS BEGUN BETWEEN WHAT YOU SEE AND WHAT ) DESIGNED 4HE PUPILS STARE OUT THEIR CIRCLED 9OU !RE (ERE !ND HERE IS WHAT TRAVELLERS ALWAYS REACH OUT THEIR üNGERS TO LIKE TOUCHING IDOLS
RUBBING THIS üXED PLACE TO EMPTINESS AN APERTURE
6IEWüNDER 0HOTOGRAPHY 'ALLERY ,INEAR (OUSE
0EYTON 0LACE OFF 2OYAL (ILL
'REENWICH ,ONDON 3% 23 WWW VIEWüNDER ORG UK