Becky Warnock

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

TAn exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

An exploration of my relationship to and understanding of the role of images in politics of representation. Using early images from my own practice, NGO imagery and other media, I unpick the ethics of modes of representation of post-colonial Africa.

Diana Keys is an artist, gradually she painted a new, beautiful fantasy world in which she was able to exist, free from the restrictions and definitions of the asylum system she was a part of for 25 years. Her council flat is her creation.

Diana Keys is an artist, gradually she painted a new, beautiful fantasy world in which she was able to exist, free from the restrictions and definitions of the asylum system she was a part of for 25 years. Her council flat is her creation.

Diana Keys is an artist, gradually she painted a new, beautiful fantasy world in which she was able to exist, free from the restrictions and definitions of the asylum system she was a part of for 25 years. Her council flat is her creation.

Diana Keys is an artist, gradually she painted a new, beautiful fantasy world in which she was able to exist, free from the restrictions and definitions of the asylum system she was a part of for 25 years. Her council flat is her creation.

Diana Keys is an artist, gradually she painted a new, beautiful fantasy world in which she was able to exist, free from the restrictions and definitions of the asylum system she was a part of for 25 years. Her council flat is her creation.

Diana Keys is an artist, gradually she painted a new, beautiful fantasy world in which she was able to exist, free from the restrictions and definitions of the asylum system she was a part of for 25 years. Her council flat is her creation.

Diana Keys is an artist, gradually she painted a new, beautiful fantasy world in which she was able to exist, free from the restrictions and definitions of the asylum system she was a part of for 25 years. Her council flat is her creation.

The people of the Western Sahara have lived in refugee camps in the desert of Algeria for over 35 years; the result of the Spanish occupation of their home nation. These children remember nothing of the war that drove them away.

The people of the Western Sahara have lived in refugee camps in the desert of Algeria for over 35 years; the result of the Spanish occupation of their home nation. These children remember nothing of the war that drove them away.

The people of the Western Sahara have lived in refugee camps in the desert of Algeria for over 35 years; the result of the Spanish occupation of their home nation. These children remember nothing of the war that drove them away.

Becky Warnock

I work across photography, film and theatre, using participatory practice to engage with the people that I work with. My focus is creating innovative, community engaged art, powered for social change. 

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