This theme of representation runs true and deep throughout the competition’s blood and, alongside official submissions, each year of the prize offers a separate array of images through its In Focus display. This year, In Focus turns our eyes to New York based fashion photographer Ethan James Green, who’s impressive portfolio of commercial projects for the likes of i-D, Vogue and Vanity Fair is complemented by his long running personal project shot between 2014 and 2018, Young New York. Displayed proudly on its own wall at the rear of the gallery, Young New York depicts the photographer’s friends, many of whom identify as LGBTQ+, with their romantic partners, giving audiences an honest and gentle depiction of love, relationships and the diversity that runs through them in the five boroughs of modern day New York.
And yet, though pertinent throughout the exhibition, it isn’t only societal and community-wide issues on display and addressed through these portraits. As important, and indeed as stunning, are the images offering us insight into the more individual and personal. Jenny Lewis’ Rosy and Herb portrays a mother holding her newborn child the day before starting chemotherapy, affording audiences an intimate glimpse into the connection between mother and child, as well as an insight into the disruptive natural forces which can work to undo the idylls of family life. Likewise, Enda Bowe’s second portrait on display, this one of his elderly, widowed subject from the series Clapton Blossom, tells of the sadness of loss and loneliness; his subject’s contemplative window gazing evoking an empathy for both memories cherished and relationships mourned.
This year’s winner is no different and is equally unwavering in its raw display of the intimacy of both photographer and subject. Exhibiting a series of portraits of his mother, alongside other members of his family, photographer Pat Martin explores relationships and the effect that time and ageing has upon them. His portraits depict his family shortly after his mother was diagnosed with a medical condition and tell the story of illness, familial ties and strained relationships. Sitting as a subject in Pat’s images, his mother presents as upset, bearing the marks of an ill woman. Though despite their pairing with this solemn theme, Martin’s images show an honest depiction of family and, through a clear technical prowess and eye for colour, he deals with his grave subject matter in a gentle and caring way, creating beautiful, captivating family portraits in the process. In Martin’s own words, the portrait series became a means to repair his relationship with his mother, which had been fraught since a turbulent childhood, and the uplifting theme of redemption is discernible from first glance, despite the underlying theme of ill health and mortality in the series.