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  • Mould on a bedroom wall. Damp is a common cause of mould in housing leading to breathing problems. SHINE (Seasonal Health Intervention Network) is a one-stop referral system for children and vulnerable people in the borough of Islington to access affordable warmth and seasonal health interventions.  Islington, London. UK
    UK-Housing-damp-mould-3045.jpg
  • Working in a dark corner of Desford Brickworks, the factory owned by Hanson Brick in Leicestershire, a labourer pats his clay aggregate into a clod (also known as a clot or warp) a lump of kneaded clay formed into a rough brick shape by hand in preparation for being thrown into the mould (or mold) and shaped once again with a stock. He will then skim off the surplus with the bow - a wire stretched between the ends of a curved wooden rod used for removing excess clay from the mould, which hangs on the wall by a nail. The stage afterwards is the firing in the kiln. Obviously the mechanisation of brick making endangers the careers of skilled craftsmen like this man. <br />
Bricks may be made from clay, shale, soft slate, calcium silicate, concrete, or shaped from quarried stone but Clay is the most common material.
    brick_maker-04-11-1998_1.jpg
  • Snow on the beach at Folkestone seafront where the Jelly Mould Pavilion sits on the 11th of February 2021, Folkestone, United Kingdom. Designed by Turner Prize winner Lubaina Himid MBE made as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Weather-Snow-Folkestone-0309.jpg
  • Art lovers are seen through a window while attending a private exhibition preview of a series at Phillip Mould, a dealer of paintings in London. Philip Mould & Company are a leading specialist dealer in British art and Old Masters. Our gallery is located in Dover Street at the centre of London’s art market. They have a large selection of fine paintings for sale, from Tudor and Jacobean panel pictures to eighteenth century landscapes, as well as works by Old Masters such as Titian and Van Dyck, and antique portrait miniatures.
    art_crowd01-17-11-2012_1.jpg
  • Turner Prize nominated Lubaina Himid MBE with her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Snow on the beach at Folkestone seafront where the Jelly Mould Pavilion sits on the 11th of February 2021, Folkestone, United Kingdom. Designed by Turner Prize winner Lubaina Himid MBE made as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Weather-Snow-Folkestone-0261.jpg
  • Snow on the beach at Folkestone seafront where the Jelly Mould Pavilion sits on the 11th of February 2021, Folkestone, United Kingdom. Designed by Turner Prize winner Lubaina Himid MBE made as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Weather-Snow-Folkestone-0255.jpg
  • Art lovers are seen through a window while attending a private exhibition preview of a series at Phillip Mould, a dealer of paintings in London. Philip Mould & Company are a leading specialist dealer in British art and Old Masters. Our gallery is located in Dover Street at the centre of London’s art market. They have a large selection of fine paintings for sale, from Tudor and Jacobean panel pictures to eighteenth century landscapes, as well as works by Old Masters such as Titian and Van Dyck, and antique portrait miniatures.
    art_crowd03-17-11-2012_1.jpg
  • Turner Prize nominated Lubaina Himid MBE with her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Turner Prize nominated Lubaina Himid MBE with her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Turner Prize nominated Lubaina Himid MBE with her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Turner Prize nominated Lubaina Himid MBE during the construction of her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • The detailed interior of Lubaina Himid’s Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Turner Prize nominated Lubaina Himid MBE with her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Turner Prize nominated Lubaina Himid MBE with her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Turner Prize nominated Lubaina Himid MBE with her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Turner Prize nominated Lubaina Himid MBE during the construction of her Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent. Lubaina Himid created a Jelly Mould Pavilion on Folkestone’s sea front, on the former ‘Rotunda’ site of the town’s fun fair, Lido and amusement park where the sugar of candy floss and toffee apples fuelled summer visitors. The pavilion’s colourful decoration in the artist’s signature patterning will serve as a reminder of the lost amusement park, as well as providing a beautiful shelter at the edge of the town to rest, look out to sea, and think about the role of sugar in Britain’s history. Folkestone, Kent.
    UK-Art-2017-Folkestone-Triennial-Lub...jpg
  • Workers sealing and covering a wax mould of an icon with clay ready to be fired in the pit at the workshop in Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_231.jpg
  • A worker carves a wax mould of an icon in the studio of the Stpathy family of idol makers, Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_255.jpg
  • A craftsman pours wax into a mould from which a statue will be cast from bronze. The process is known as 'Lost wax'..The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day.
    SFE_100128_113.jpg
  • Craftsmen at the workshop of S. Devasenapathy Stapathy and Sons, mould local clay around the wax image of a diety to be cast in bronze. The clay is from fine silt traditionally collected locally at the bend of the Kaveri River..The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day.
    SFE_100128_005.jpg
  • Craftsmen at the workshop of S. Devasenapathy Stapathy and Sons, mould local clay around the wax image of a diety to be cast in bronze. The clay is from fine silt traditionally collected locally at the bend of the Kaveri River..The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day.
    SFE_100128_002.jpg
  • Craftsmen at the workshop of S. Devasenapathy Stapathy and Sons, mould local clay around the wax image of a diety to be cast in bronze. The clay is from fine silt traditionally collected locally at the bend of the Kaveri River..The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day.
    SFE_100128_005.jpg
  • Radakrishna Stpathy directs the breaking open of a icon mould at his workshop in Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_521.jpg
  • Workers sealing and covering a wax mould of an icon with clay ready to be fired in the pit at the workshop in Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_231.jpg
  • Green mould covered car, having been parked out for a long time and not cleaned, in Olney, United Kingdom.
    20190727_mouldy car_001.jpg
  • Radakrishna Stpathy directs the breaking open of a icon mould at his workshop in Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_521.jpg
  • A craftsman pours wax into a mould from which a statue will be cast from bronze. The process is known as 'Lost wax'..The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day.
    SFE_100128_113.jpg
  • Craftsmen at the workshop of S. Devasenapathy Stapathy and Sons, mould local clay around the wax image of a diety to be cast in bronze. The clay is from fine silt traditionally collected locally at the bend of the Kaveri River..The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day.
    SFE_100128_002.jpg
  • A worker carves a wax mould of an icon in the studio of the Stpathy family of idol makers, Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_255.jpg
  • A wooden mould and ash for casting spoons made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012643cc_1.jpg
  • Ms Vanthone, a metalworker opens a wooden mould used to make bracelets from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018253cc_1.jpg
  • Hands of a woman making a clay model of a turtle for a mould used for copper casting in Long Thuong village, Hung Yen province, Vietnam. With Vietnam’s growing population making less land available for farmers to work, families unable to sustain themselves are turning to the creation of various products in rural areas.  These ‘craft’ villages specialise in a single product or activity, anything from palm leaf hats to incense sticks, or from noodle making to snake-catching. Some of these ‘craft’ villages date back hundreds of years, whilst others are a more recent response to enable rural farmers to earn much needed extra income.
    A 0192_1.jpg
  • Ms Vanthone, metalworker opens up the wooden mould used for casting bracelets made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018271cc_1.jpg
  • Ms Vanthone, a metalworker prepares a wooden mould with ash to make bracelets from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974. 12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018236cc_1.jpg
  • A wooden mould for casting spoons made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012642cc_1.jpg
  • Hands of a woman making a clay model of a turtle for a mould used for copper casting in Long Thuong village, Hung Yen province, Vietnam. With Vietnam’s growing population making less land available for farmers to work, families unable to sustain themselves are turning to the creation of various products in rural areas.  These ‘craft’ villages specialise in a single product or activity, anything from palm leaf hats to incense sticks, or from noodle making to snake-catching. Some of these ‘craft’ villages date back hundreds of years, whilst others are a more recent response to enable rural farmers to earn much needed extra income.
    A 0186_1.jpg
  • Old rotten canaloop melon covered in mould and bacteria.
    5F3A5195_1_1.jpg
  • Visitors enjoy sitting inside Lubaina Himid’s Jelly Mould Pavilion on Folkestone’s sea front as part of the 2017 Folkestone Triennial. Folkestone, Kent.
    UK-Art-Folkestone-Triennial-1437.jpg
  • Moulds of various statues on shelves in the studio of the Stpathy family of idol makers, Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_252.jpg
  • A boy moulding vegetable patties to fry Babu Shahi Bawarchi, New Delhi, India<br />
The famous but modest takeaway housed in the grounds of a shrine is famous for its biryani and whose owners ancestors served as chief cooks under the Moghul Emperor, Shah Jahan
    SFE_110917_061_1.jpg
  • Moulds of various statues on shelves in the studio of the Stpathy family of idol makers, Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_252.jpg
  • Cheesemaker, Kathy Biss turning the Cuillin Coulommier cheese onto a fresh mat and board at the West Highland Dairy in the village of Achmore by the Kyle of Lochalsh in the Scottish Highlands. Owned by Kathy and David Biss, West Highland Dairy was established in 1987 and as well as managing their own small commercial dairy business, they have taught a great number of prospective cheesemakers during the last 20 years.
    15-07_1_1.jpg
  • Ms Vanthone, metalworker casting bracelets made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018293cc_1.jpg
  • Bracelets made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018284cc_1.jpg
  • Stilton at a cheese stall. Borough Market is a thriving Farmers market near London Bridge. Saturday is the busiest day.
    _MG_2943.jpg
  • Bracelets made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018281cc_1.jpg
  • Ms Vanthone, metalworker casting bracelets made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018278cc_1.jpg
  • Spoons made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012649cc_1.jpg
  • A metalworker casting spoons made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012630cc_1.jpg
  • A metalworker casting spoons made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012626cc_1.jpg
  • A Potter throws clay onto a wheel to make a pot at a factory in Sanganer, Jaipur, India
    SFE_111030_154_1.jpg
  • Workers cast an icon in the pit at the workshop of the Stpathy family,  Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_394.jpg
  • A worker tends the fire that will melt the wax for casting in the pit at the workshop in Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_242.jpg
  • Detail of a sign outside a seaside trinket shop selling temporary tattoos, on 14th July 2017, at Scarborough, North Yorkshire, England.
    scarborough-06-14-07-2017.jpg
  • A decaying Victorian brick wall and present-day graffiti in London's east end. After decades of grime and dirty air, a drain pipe has turned green from leaking water and moss and algae has been allowed to accumulate on brickwork and weeds to grow upwards to make this a scene of urban dereliction and decay.
    graffiti_wall01-17-11-2000_1_1.jpg
  • Workers cast an icon in the pit at the workshop of the Stpathy family,  Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_393.jpg
  • A worker tends the fire that will melt the wax for casting in the pit at the workshop in Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_242.jpg
  • A sign to a metalworkers house who makes spoons from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018319cc_1.jpg
  • Ms Vanthone, metalworker casting bracelets made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0018239cc_1.jpg
  • A sign to a metalworkers house who makes spoons from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012655cc_1.jpg
  • Spoons made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012652cc_1.jpg
  • A metalworker casting spoons made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012648cc_1.jpg
  • A spoon made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    46-11_1.jpg
  • Artisan Potters at work at a factory in Sanganer, Jaipur, India
    SFE_111030_182_1.jpg
  • Workers cast an icon in the pit at the workshop of the Stpathy family,  Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_393.jpg
  • The artist Rachel Whiteread CBE (born 1963) sits on the steps of her best-known sculpture called 'House'. 'House' stands alone on a now-empty and house-less East London street. Oddly, the contours of the structure have been inverted to reveal an inside-out version of the original building. It is a concrete cast of the inside of an entire Victorian terraced house completed in autumn 1993 and exhibited at the location of the original property — 193 Grove Road — in East London (all the houses in the street had earlier been knocked down by the council). It won Whiteread the Turner Prize (the first woman to do so) for best young British artist in 1993. Here we see 'House' at a close distance with graffiti painted on the walls stating the words "Wot for ..why not!" before it was controversially demolished by the council in January 1994.
    rachel_whiteread02-15-12-2007 .jpg
  • As traffic zooms past, the art installation called 'House' stands alone on a now-empty and house-less East London street. Oddly, the contours of the structure have been inverted to reveal an inside-out version of the original building. It is a concrete cast of the inside of an entire Victorian terraced house completed in autumn 1993 and exhibited at the location of the original property — 193 Grove Road — in East London (all the houses in the street had earlier been knocked down by the council). Created by the artist Rachel Whiteread CBE (born 1963) this is her best-known sculpture. It won her the Turner Prize (the first woman to do so) for best young British artist in 1993. Here we see 'House' next to a lamp post which throws down it's light on a winter evening, before it was controversially demolished by the council in January 1994.
    rachel_whiteread01-15-12-2007 .jpg
  • Workers cast an icon in the pit at the workshop of the Stpathy family,  Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_394.jpg
  • A metalworker casting spoons made from recycled aluminium sourced from Vietnam War debris and melted in an earthen kiln in Ban Naphia, a remote Tai Phouan village in mountainous Xieng Khouang Province in Northern Laos. Laos is the most bombed country, per capita, in the world with more than two million tons of ordnance dropped on it during the Vietnam War from 1963 to 1974.12 artisan families began transforming war scrap into spoons (150,000 per year) in the 1970s to supplement subsistence farming activities. Supported by the Swiss NGO Helvetas, the project works to make the scrap metal supply chain safer for artisans and scrap collectors by collaborating with organisations such as Mines Advisory Group (MAG) that specialise in unexploded ordnance removal and education. More recently the villagers have started making bracelets and other items.
    A0012597cc_1.jpg
  • Mohammed Jalil making kebabs at Karim's Restaurant, Delhi, India<br />
Karim's is a Delhi landmark was started by Haji Karimuddin who decided to open a restuarant catering to people coming to Delhi for the Coronation Durbar in 1911
    SFE_110914_188_1.jpg
  • Large bollard barrier next to a modernist building exterior. The shape of the yellow plastic matching the moulding of the wall which is made from a pattern of geometric shapes. London, UK.
    20141230_geometric shapes_A.jpg
  • Concrete and plastic moulded patterns in London, United Kingdom. Colourful road block barriers interact with a particularly patterned architectural detail.
    20150306_colourful barrier_A.jpg
  • Disgarded wax moulds lie in a tank of water in the  workshops of the Stpathy family of bronze statue makers in Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_208.jpg
  • A worker of Mexican-descent is surrounded by concrete moulded pipes at a facility belonging to Hanson, on 17th April 1999, in Dallas, Texas, USA.
    hanson_industry-17-04-1999.jpg
  • A forklist carefully places concrete moulded pipes at a facility belonging to Hanson, on 17th April 1999, in Dallas, Texas, USA.
    hanson_industry-17-04-1999_1.jpg
  • Disgarded wax moulds lie in a tank of water in the  workshops of the Stpathy family of bronze statue makers in Swamimalai, India.The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_208.jpg
  • Red tables and chairs removed from the old station cafe stacked up behind a wall on Folkestone Harbour Arm on the 22nd of May 2020, Folkestone, United Kingdom. Folkestone was a major passenger ferry port to Boulogne France up until September 2000.
    UK-Folkestone-Seating-7227.jpg
  • Master craftsmen Radhakhrishna Stpathy (r) and his brorther, Srikanda mould an icon in wax in their workshop in Swamimalai, India..The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,ƒÚlost wax,ƒÙ process remains unchanged to this day..
    SFE_100129_349.jpg
  • Master craftsmen Radhakhrishna Stpathy (r) and his brorther, Srikanda mould an icon in wax in their workshop in Swamimalai, India..The current Stpathy family is the twenty third generation of bronze casters dating back to the founding of the Chola Empire. The Stapathys had been sculptors of stone idols at the time of Rajaraja 1 (AD985-1014) but were called to Tanjore to learn bronze casting. Their methods using the ,?Úlost wax,?Ù process remains unchanged to this day..
    SFE_100129_349.jpg
  • Shaping the sides around a mould and blocks, and the front all prepared. Violins being made at viloin an cello maker, Rod Ward's studio in Guilden Morden, Hertfordshire, UK. This highly skilled craft involves the process of making from raw wood to final instrument. All hand crafted with specialist tools and care for detail.
    20100408violin makerZ.jpg
  • Shaping the sides around a mould and blocks. Violins being made at viloin an cello maker, Rod Ward's studio in Guilden Morden, Hertfordshire, UK. This highly skilled craft involves the process of making from raw wood to final instrument. All hand crafted with specialist tools and care for detail.
    20100408violin makerB.jpg
  • Shaping the sides around a mould and blocks. Violins being made at viloin an cello maker, Rod Ward's studio in Guilden Morden, Hertfordshire, UK. This highly skilled craft involves the process of making from raw wood to final instrument. All hand crafted with specialist tools and care for detail.
    20100408violin makerA.jpg
  • Yak cheese drying over an open wood fire in a Tibetan yak herders hut, Sheng Amu, Yunnan Province, China. The shape and texture of the cheese is made by using a bamboo basket mould.
    A0009531_1.jpg
  • A Tibetan yak herders son holding a yak outside their hut, Sheng Amu, Yunnan Province, China. The shape and texture of the cheese is made by using a bamboo basket mould.
    A0009538_1.jpg
  • Young men in drag perform to an audience as part of their Club 18-30 holiday experience to Ibiza, Spain. A tour rep encourages the men to push their inibitions to the limit but with a reputation for 'Sun, Sand and Sex' the 18-30 holiday formula has been labelled as parents' worth nightmare. From from the company's web site however the fantasy sounds less riotous: "There comes a time in life when you need to do it for yourself. A time to break free and break the mould. To explore, leave the map at home and find yourself. To find that one moment and make it last a lifetime. That time is now. Sunrise to sunset. Sunset to sunrise. This is the time of your life. Love every single second of it."
    club_18-13-14-06-1994_1.jpg
  • Pint of ale in an old fashioned jug beer glass. Jug glasses are shaped more like a large mug with a handle. They are moulded with a grid pattern of thickened glass on the outside. Dimpled glasses are now rarer than the other types and are regarded as more traditional. This sort of glass is also known as a "Handle" or "Jug". They are popular with drinkers who prefer a traditional beer experience.
    20130409jug glass ale pintA.jpg
  • Exhibition of the sculptures by British sculpter Anthony Gormley at the White Cube Gallery, Bermonsey, London on the 7th October 2016. Anthony Gormley configured the gallery into 15 spaces “in the form of a labyrinth”.<br />
Gormley describes his work as an attempt to materialise the place at the other side of appearance where we all live. Many of his works are based on moulds taken from his own body. Visitors to the show at White Cube Bermonsey “faced a choice of passages” through the differently sized spaces, which have been divided up to create “a series of dramatic physiological encounters”.
    _E6A1980_1.jpg
  • Exhibition of the sculptures by British sculpter Anthony Gormley at the White Cube Gallery, Bermonsey, London on the 7th October 2016. Anthony Gormley configured the gallery into 15 spaces “in the form of a labyrinth”.<br />
Gormley describes his work as an attempt to materialise the place at the other side of appearance where we all live. Many of his works are based on moulds taken from his own body. Visitors to the show at White Cube Bermonsey “faced a choice of passages” through the differently sized spaces, which have been divided up to create “a series of dramatic physiological encounters”.
    _E6A1971_1.jpg
  • Exhibition of the sculptures by British sculpter Anthony Gormley at the White Cube Gallery, Bermonsey, London on the 7th October 2016. Anthony Gormley configured the gallery into 15 spaces “in the form of a labyrinth”.<br />
Gormley describes his work as an attempt to materialise the place at the other side of appearance where we all live. Many of his works are based on moulds taken from his own body. Visitors to the show at White Cube Bermonsey “faced a choice of passages” through the differently sized spaces, which have been divided up to create “a series of dramatic physiological encounters”.
    _E6A1967_1.jpg
  • Exhibition of the sculptures by British sculpter Anthony Gormley at the White Cube Gallery, Bermonsey, London on the 7th October 2016. Anthony Gormley configured the gallery into 15 spaces “in the form of a labyrinth”.<br />
Gormley describes his work as an attempt to materialise the place at the other side of appearance where we all live. Many of his works are based on moulds taken from his own body. Visitors to the show at White Cube Bermonsey “faced a choice of passages” through the differently sized spaces, which have been divided up to create “a series of dramatic physiological encounters”.
    _E6A1961_1.jpg
  • A group of women in Fada N'Gourma Burkina Faso grind organic millet on a traditional table carved from stone to make flour. The table has been in the village for years and has well moulded troughs to collect the flour.
    06-arfa_0226.jpg
  • Pint of ale in an old fashioned jug beer glass. Jug glasses are shaped more like a large mug with a handle. They are moulded with a grid pattern of thickened glass on the outside. Dimpled glasses are now rarer than the other types and are regarded as more traditional. This sort of glass is also known as a "Handle" or "Jug". They are popular with drinkers who prefer a traditional beer experience.
    20130409jug glass ale pintB.jpg
  • White plaster or cement Goddess statuettes stand on sale on the forecourt of a garden art business in an Athens suberb, Marathonas Avenue - the original Marathon route of 490 BC. The mostly female figurines are in various poses but are all nudes and are in various gestures of a classical heroic style. Those in the foreground have their arms at the heads and moulded breasts and bodies to show the perfect female form while further to the back are male Gods placed on plinths and in recesses. The 29th modern Olympic circus came home to Greece in 2004 and the birthplace of athletics and the Olympic ideal, amid the woodland of ancient Olympia where for 1,100 continuous years, the ancients held their pagan festival of sport and debauchery.
    greek_olympiad011-23-10_2003_1.jpg
  • Exhibition of the sculptures by British sculpter Anthony Gormley at the White Cube Gallery, Bermonsey, London on the 7th October 2016. Anthony Gormley configured the gallery into 15 spaces “in the form of a labyrinth”.<br />
Gormley describes his work as an attempt to materialise the place at the other side of appearance where we all live. Many of his works are based on moulds taken from his own body. Visitors to the show at White Cube Bermonsey “faced a choice of passages” through the differently sized spaces, which have been divided up to create “a series of dramatic physiological encounters”.
    _E6A1968_1.jpg
  • Exhibition of the sculptures by British sculpter Anthony Gormley at the White Cube Gallery, Bermonsey, London on the 7th October 2016. Anthony Gormley configured the gallery into 15 spaces “in the form of a labyrinth”.<br />
Gormley describes his work as an attempt to materialise the place at the other side of appearance where we all live. Many of his works are based on moulds taken from his own body. Visitors to the show at White Cube Bermonsey “faced a choice of passages” through the differently sized spaces, which have been divided up to create “a series of dramatic physiological encounters”.
    _E6A1960_1.jpg
  • Exhibition of the sculptures by British sculpter Anthony Gormley at the White Cube Gallery, Bermonsey, London on the 7th October 2016. Anthony Gormley configured the gallery into 15 spaces “in the form of a labyrinth”.<br />
Gormley describes his work as an attempt to materialise the place at the other side of appearance where we all live. Many of his works are based on moulds taken from his own body. Visitors to the show at White Cube Bermonsey “faced a choice of passages” through the differently sized spaces, which have been divided up to create “a series of dramatic physiological encounters”.
    _E6A1953_1.jpg
  • A group of women in Fada N’Gourma Burkina Faso grind organic millet on a traditional table carved from stone to make flour. The table has been in the village for years and has well moulded troughs to collect the flour.
    06-arfa_0226.jpg
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