The Woman, The Gaze, The World was loosely themed around a picking apart of the question of whether women see the world differently than men. Here, “seeing”  refers most obviously to the individual artist’s interpretation of the world, but also to something which is further mediated by the camera lens.

A second element linking these ideas of seeing and representation to the gender question (which is admittedly provocative) was the question of what is meant by interpretation – in terms of gender, photography and/or art. Rather than constructing itself as a broad argument in answer of the various questions, the exhibition presents the work of the various artists as a series of specific and personal responses to the questions of filtering, staging and manipulation of “the truth” of the world.

In an attempt to provide an additional layer of interpretation, each artist was paired with a writer who was in turn challenged to create a new piece of creative writing that responded, however indirectly, to the work of the artist and the the themes in question.

The exhibition included beautifully-observed photographs by Catherine Hyland which depict the strange juxtaposition of one reality superimposed on to another; Seulki Ki’s sparse, subtle, idiosyncratic takes on loneliness and the body in urban environments; Eugenia Ivanissevich’s playful and layered reworkings of conventional landscape photography; curious collisions between fact and fiction in scientific processes represented in photographs byVictoria Jenkins; and Alison Stolwood’s images which highlight the often blurred distinctions between the natural and the artificial.

The writers were: Esme Fieldhouse, Sarah Lester, Hestia Peppe, Claire Trévien and Crystal Bennes.