Taylor Curry, Savannah College of Art and Design

more: http://taylormcurry.com/

Ryan Moule, Royal College of Art, London

more: http://www.ryanmoule.com/

Johns Hopkins Congdon III, Rhode Island School of Design

more: http://www.johnshopkinscongdon.com/

Michael Younker, Savannah College of Art and Design

more: http://www.michaelyounker.com/

Looking at Sara Hibbert’s photography you soon notice a distinct style of portraying movement, myth and landscapes. Sara deals with the peripheries of consciousness and fragments of childhood memories in her works. In a chat with Sara, we find out more about her background in photography, influences and upcoming projects. Sara currently lives and works in London.

You studied Fine Art at university, tell us how you got into photography.

During my fine art degree I mainly worked in photography and video, and also experimented with light-based sculpture. Light and movement have always been important factors in my work, and photography and moving image seemed to be a natural direction.

What has been your highlight since graduating?

I was part of an exhibition supported by Intel and Jotta, where I was able to experiment with and realise a large scale, multi-screen video installation. I worked with a contemporary dancer on creating an immersive response to Degas’ Dancer with a Bouquet of Flowers, which was exhibited at One Marylebone alongside other artists and designers.

The Lakagígar collection was shot in Iceland. Tell us a little bit about the idea behind this collection and what led you to Iceland.

Iceland is a place I have always been drawn to. It’s a combination of things – the ominous, hostile but beautiful landscape, the mythology, the creative culture and the geological history. It’s a place where the landscape and environment are both awed and feared. That series in particular was inspired by a specific geological and historical event that occurred at the site.

Where would you like to visit next?

I have never been to Japan…

Are there any other artists or collectives you would like to work with?

I’m always interested in collaborating with dance groups and choreographers.

Dancer Somnambulism is one of our favourite works, it is somewhat disconcerting but also has a soothing sound that is associated with a musical box. What have been some of your influences for this piece?

During the creation of that work I was developing a lot of ideas around recollection, childhood uncertainty and fear. In a lot of my works I explore the idea of fragmented memories of events happening just beyond our mind’s reach, on the peripheries of consciousness.

What are some of your favourite galleries in London?

I have seen some really interesting shows at the Parasol Unit in the past, and I love the space. The Hayward always has great shows on – from my own perspective I’ve seen some really influential work there, such as Pipilotti Rist, Isaac Julien and Doug Aitken. The Whitechapel, Hauser and Wirth, Gasworks and Victoria Miro are all favourites too.

What can we look forward to seeing from you next?

I’m working on a photographic project at the moment, looking at our emotional and physical connections with landscapes. I’m also planning an exhibition for the new-year.

Find out more about Sara here.

Words: Tatevik Sargsyan

Images: Sara Hibbert

Sophia Aerts, Royal Academy of Art, The Hague

more: http://www.sophiaaerts.com/

Claire Maxwell, Glasgow School of Art

more: http://www.clairemaxwell.com/

Regina LeMaire Costa, Ecole Supérieure d’Etudes Cinématographiques, Paris

more: http://www.reginaelcee.com/

Yuvali Theis, Royal Academy of Art, The Hague

more: http://yuvalitheis.com/

Erin Cherry, Design Media Arts UCLA

more: http://cargocollective.com/erincherry