V&A Parasol Foundation Prize for Women in Photography

Peckham 24 is delighted to host the winners of the V&A Parasol Foundation Prize for Women in Photography for its second year. The Prize was established to identify, support, and champion women artists. It is an important part of the wider V&A Parasol Foundation Women in Photography Project which has been made possible by the generous support of Ms. Ruth Monicka Parasol and The Parasol Foundation Trust. The Foundation actively supports women to achieve their potential in science, health, heritage and the arts.

The Prize attracted over 1,400 submissions from both established and emerging international artists, representing an exciting cross-section of approaches to contemporary photography. Applications demonstrated an innovative response to this year’s theme, ‘Histories’, inviting artists to consider the relationship between history and photography, explore the use of historical techniques and archives, and create reimagined or speculative futures.

The four artists were chosen by the V&A’s external Prize selection committee, comprising of Bruno Ceschel, founder and director of Self Publish, Be Happy (SPBH), Dr. Zoé Whitley, Director of Chisenhale Gallery, London and Deborah Willis, University Professor.

Of the winning photographers, the selection committee said: ‘These four artists brilliantly demonstrate a nuanced understanding of the theme ‘Histories’, capturing the concept with diverse and sophisticated visual approaches. Drawing on performative self-portraiture and studio techniques, each artist interrogates personal and social narratives, including the history of photography itself. Through their work, they offer compelling insights into the complexities of the past and its enduring influence on the present.’

AISHA SERIKI

©Aisha Seriki.  From the series Ori Inu, 2023

Aisha Olamide Seriki is a Nigerian, London-based multimedia artist currently pursuing an MFA in Arts and Humanities at the Royal College of Art. Grounded by the principles of Ìṣẹ̀ṣe (Yorùbá Spiritual Tradition) and the African spirit of Sankofa, her work uses camera trickery to explore the relationships between photography, the self, and black liberation. Influenced by the concept of Orí (a Yorùbá reference to one's spiritual destiny) Seriki’s series ‘Orí Inú’ investigates the history of photographic ‘keepsakes’, drawing on the metaphor of the calabash plant and the comb as a cultural symbols of African diasporan histories, empowerment, ritual and self-care.

NANCY FLOYD

©Nancy Floyd. Nieces Dijon and Donna 1982/2012. From the series Weathering Time.

Nancy Floyd is an American artist raised in Texas and based in Oregon.  Weathering Time is an ongoing series of environmental self-portraits which began in 1982 when Floyd was just 25 years old.  Over 40 years later, this ‘visual calendar’ now comprises 2500 photographs which reflect the artist’s personal experience of aging whilst also reflecting on the cultural, technological, and physical changes that have occurred over the past four decades.    

 Silvia Rosi

© Silvia Rosi, 2022 work produced with the support of the MAXXI Foundation - National Museum of XXI century arts, Rome and BVLGARI.

Silvia Rosi works with photography, text and moving image to explore ideas of memory, migration and diaspora. Born in Italy and living and working between the UK and Togo, Rosi’s practice is inspired by West African studio photography and the artist’s Togolese heritage. Her series Teacher Don’t Teach Me Nonsense combines photography and video to explore the artist’s connection to Mina, a Togolese language regulated by colonial rule.

MIA WEINER

©Mia Weiner. Electric sea/electric blue, 2023. Handwoven cotton, acrylic, and silk yarn, paper, 14k gold and aquamarine pendant, 77 x 47 inches (49 1/2 x 44 inches without fringe )

Responding to historical textiles, Los Angeles-based artist Mia Weiner creates hand woven tapestries which explore mythology, identity, gender, and queerness, reflecting on personal relationships, memory and the body. In Sirens, Weiner interrogates how the human figure has been represented in art history and in particular how female subjects have often been depicted as objects. Working with her own body along with other female, non-binary, and intersex models, Weiner explores how figurative representation can hold power and agency.