Instagram / Arianna Lago #wbjourneys

As you may well of noticed over the past few months there hasn’t been much activity on the homepage of our website. We feel there has been a shift in the way people are interacting with imagery, and just like the photographic world we like to evolve and move forward with new ideas. So while we figure out what those next steps entail, we have been having fun just going 100% visual and bringing you constant photographic treats on both our Instagram & Tumblr feeds. And besides this works great for the 3 dyslexics who run WB, less writing woo!

The great thing about these social platforms is they are completely driven by the enthusiasm and photographs that come from all our amazing viewer. We are trying to make them as interactive as possible with selected Instagrammers taking over our feed and a submission based tumblr.

I have to say the Instagram element is my favourite at the moment, our idea is driven by the joy you get when taking pictures whilst on a journey hence the #wbjourneys. We ask Instagrammers who are heading out on a journey be that a week end visit to their Nan’s or a week in California to take over our feed and bring our viewers pictures from all corners of the world. The feed has been to some great places already, Paris, Mumbai, Tokyo, Cornwall, Berlin, L.A to name a few. One takeover that I felt really grasped and kicked off the good times was Arianna Lago aka @jellybellybella trip to Mexico. Full of colour and enthusiasm Arianna treated us to so many different things to look at and gave us a lovely insight into a great Country.

If you are heading on a Journey and think you would be the right kind of person to take over get in touch ( and like wise if you feel your images are what we are looking for on our tumblr keep the submissions rolling!

And now I am going to leave you with a selection of Arianna’s takeover pictures. Enjoy.


Arianna Lago


Blog / Erin O’Keefe

At a time where contemporary photographic practice persistently looks to highlight and consider the very nature, process and authenticity of the medium itself, the work of New Yorker based photographer and architect Erin O’Keefe presents a valuable and considered approach. Most notably her recent series titled ‘The Flatness’, referring to both the material flatness of the photograph itself, as well as the perceptual flattening of the still life space, provides a stimulating discourse on current aesthetic, language and themes within photography. O’ Keefe produces these images by photographing still life arrangements comprised of self painted plywood boards and physical photographic prints depicting Photoshop produced gradients with the camera working as the facilitator, compressing and altering dimensions.







Interview / Jordan Tate


Your Work Was Featured In Foam Magazine’s 2012 Issue; What’s Next? How Do You Feel Photography Has Changed In The Last 12 Months, Can You Reflect On Any Significant Trends Or Developments That Have Taken Place ? 

Without delving too deeply into some theoretical concerns I have outlined in an upcoming exhibition catalog I can say that I don’t feel that there has been any real sea change in the photographic landscape over the past twelve months. There has been a refinement and an articulation of some of the concerns that have been circulating for a few years – but I haven’t noticed ant dramatic aesthetic or conceptual movements. That said, I have begun to see the necessity of this critique far differently, and generally in a more critical way as I would like to see a more critical engagement with the photograph that isn’t grounded in process-based metaphotographic critique, even though that is an intensely valuable discussion.



On Presenting Your Work Within The Issue, The Writer States That Your Work Wrestles With The Questions ‘ How Do We See? What Are Suitable Subjects For Photography? And What Are Viable Means Of Image Making? ‘ Do You Feel This Is An Accurate Perspective Of Your Work’s Intentions ?

I do, and actually that passage was from an artist statement penned in 2009 that I still adhere to for New Work. Essentially, I am still exploring these ideas, and that notion of exploration is crucial – I am not posing solutions; I am more interested in understanding the cultural and aesthetic systems that govern our perception and pursuant to that, our comprehension (broadly speaking).



Having Worked With GIF’s In Your Series’, Is Permanence A Key Theme Within Your Work ?

From time to time it is (no pun intended). I’ve worked with a few processes that change or degrade, but they are more focused on implicating the viewer in the work.


Your Work Adopts Varying Processes And Approaches, Not Sticking Specifically To One Medium, What Drives Your Process For Each Project ?

I generally try to be guided by which process or medium seems the most effective for the work I am producing. For example, I think a necessary component to critique, expand, or understand traditional notions of the photograph necessitate the ability to step outside of those understandings of the medium and work from the outside for a little bit.



What Drives Your Online Curational Project ilikethisart ? What Does It Offer That Other Online Sources Do Not ?

It started as a resource for me to keep a personal archive that was tagged in a way that enabled me to find work I had seen and couldn’t specifically recall artists names, contexts of projects, etc. It still serves that primary function for me, and has become a great reference for y own work. The one thing I wanted to provide at the beginning was written context for every artist shown – I felt that was missing at the time (2009). That said, I think there are quite a few really solid sites that do that now.



Through ‘ilikethisart’ You Inevitably Intake A Great Deal Of Visual Work, Is It Possible To Experience Too Much Creative Output ? 

I don’t think so, it has been an incredibly rich and rewarding process for me and I haven’t felt overwhelmed by the amount of work I look at – it is actually quite the opposite. The more I engage with contemporary visual culture (and its historical precedents) the more able I am to engage in a discussion of those systems.




What Projects Are You Working On Now ?

SUPERBLACK at the Transformer Station, March 29th 2104. /

Review / Deliberate Operations

Deliberate Operations is a project set up by the talented boys of EIC aka Jason Lukas, Zachary Norman and Aaron Hegert. Deliberate Operations Volume 1 [1] contained exclusively work from the trio and was sent out to a select number of artists to respond and be part of the following instalment, Deliberate Operations Volume 1 [2].

In the words of EIC:

‘DELIBERATE OPERATIONS reflects the EIC’s view of how it conducts considered and sustained operations in space and sets the foundation for developing other fundamentals, tactics, techniques, and procedures. These operations are designed and/or spontaneously realized to reveal or conceal certain features of the environment. This volume serves as a record of those interactions and a guide to other practitioners. 

For this document to mean anything, it must come alive in classrooms, homes, workplaces, public spaces and daily practice. Learn from it, adhere to it and continue to help us adapt it to the complex and competitive environments in which we operate. 

Victory starts here!’

With that been said, this book (Deliberate Operations Volume 1 [2]) has an intriguing mix of work from a group of artists that appear to be on the same wavelength in terms of photographic approach. The book which is printed in black & white and set on slightly rough paper is completely complimentary with the work that you will find inside, a blend of inquisitiveness and photographic freedom is embraced. Anchored together by a balanced and very refined edit, this institutional style dossier is a must for any book collectors out there.





Buy Deliberate Operation Volume 1 [2] here.


Interview / Chloe Newman

We caught up with LCC student Chloe Newman for a quick chat about life at Uni and her work. With odd compositions, bright colours and long finger nails all appearing in her imagery, we think Chloe is going to be one to look out for in the future, here is what she had to say…


Final years at Uni can be quiet stressful ones, how are you finding yours? Still managing to take nice photos I hope?
I am excited to be in the process of making new work for the final show, yet I am also equally excited to explore the possibilities once I finish! So I am split, I think its important to stay excited and not to let the stressful elements take over, I want to appreciate the time I still have at uni and see it as a positive.




How does LCC fair as a Uni to study at? Being in one of the biggest cities in the world does this give you an advantage?

LCC is a really down to earth uni, the people are varied in interests and styles which is always inspiring, I have found it especially refreshing as although it has a particular emphasis on the contextual side of creative work, it also really allows you to develop your own style practically and there is pretty much free reign on what you can do so there’s a real sense of freedom when it comes to your own work. I think being based in London is an advantage, there are a lot of opportunities and great exhibitions on to get inspired by!

I can already see a development in the images you have on your site, what have been the influences on your work over the past year?
Thank you, I’m glad you can see it!  Over the past year I’ve been influenced visually by photographers Tereza Zelenkova, Viviane Sassen, Joshua Citarella and Bryan Dooley to name a few. This blog has often fuelled my inspiration: I’ve always had a solid interest in surrealism (René Magritte’s paintings, Luis Buñuels film Un Chien Andalou) and the works of David Lynch so I guess mainly I find I am influenced by things that are not perceived as normal, the fragmented and unusual.



I find the empty space in you series Visual conflicts awkward, you like to confront your viewer, why is this?

I think its extremely important when creating images that rely heavily on the visual to really ‘hit’ the viewer, to create a mood or feeling felt. In the Visual Conflicts case I wanted the viewer to feel an attraction to the work visually, through the bold colours and strange/comical compositions and upon a prolonged viewing begin to feel a gradual sense of unease and disconcert – I love it when you see an image that can make you feel opposite emotions simultaneously, the kind that splits you and you’re uncertain what to make of it.


We love a good collaboration, and we notice you do too, can you tell us what sort of colloboration you take part in and why Black tropicana?

I am currently collaborating with my classmate Rebecca Scheinberg and together we form NEWSHINE. Black Tropicana sprung from our mutual interest in trashy 80s glamour aesthetics, since starting at LCC we gradually found we liked a lot of the same styles and references but it was extra nice as we would always go about creating work based on these shared influences in different ways. I think its great to collaborate, we have different strengths which together I think ‘complete each other’ haha!  We have been taking on commissions recently and hopefully will continue to do more!



As some of you may have noticed we had our first Instagram takeover on our @Wanderingbears feed. First to step up were London based artists  @Jake Kenny & @MatildaHillJenkins, their #wbjourneys was in Paris. Here is what they got up to.



If you think you’ve got the photo skills to take over our Instagram then please get in contact, your journey can be anything from visiting you Nan to visiting New York. Tell us where you  are going and why you think you would make a great #wbjourneys. Get in touch at



Thankyou Jake & Matilda for our first takeover, we enjoyed it.