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MAP6

@map6collective

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Est. 2011, we are a collective of 9 photographers interested in people and place. Here we share and support other photographers with takeovers.
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We’re delighted to have Jade Joannès as our next Guest Takeover @jadejoannes Born in 1994 in Seine-Saint-Denis, Jade Joannès grew up in the Parisian suburbs of 95, where she began self-taught photography in 2008. She graduated from the Paris Cergy National Graduate School of Arts in 2019 and now works between Paris and Roubaix. She draws on her immediate surroundings to shape documentary narratives. Her work centers on the inextricable link between individuals and the spaces they pass through, because one cannot exist without the other, and examines how these places shape our identities and connect us deeply to the world and reality. By approaching each project as a portrait, she explores themes of history, the imaginary and the family through questions of systems of representation, intimate and public space, and contemporary society. Her work has been presented in several group exhibitions, including Art Rotterdam (2022), Galerie B-Part (2023, Berlin), Galerie Ephemere (2024, Tokyo), Galerie Fisheye - Festival Impulse (2025, Arles) and Les Boutographies (2025, Montpellier). In June 2022, her project A Strange Attraction was published by Another Place Press and her project Kingdoms of Uncertainties was presented as part of a solo exhibition at the Maison des Arts et du Patrimoine of Beaumont (2023) and then at the Maison des Jeunes et de la Culture of Persan (2024). She has been chosen among the British Journal of Photography “Ones to Watch” (2025) and is a finalist of the Révélation SAIF x La Kabine award (2026). She is also the winner of the national photography commission Regards du Grand Paris #9 supported by Ateliers Médicis and CNAP. by @map6collective
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2 hours ago
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Today is my final day of the take over so I will take a moment to share some further pictures that have make up part of my project Effluent Evidence: A Visual Investigation of Thames Waters Data. It seems like a perfect day to share this first image which will be part of @photofringe which is opening today. It will be part of the Open Eco Exhibition which will be on display down on Brighton beach. This image was made in collaboration with Adam Freeman-Pask from @fulhamreachboatclub as we documented the process of water testing together. Fulham Reach Boat Club have decided to undertake a groundbreaking citizen science initiative to raise awareness of the issues facing the UK's rivers and streams. They have done this with Fresh Water Watch by @earthwatcheurope Images: 1- 3 - The following images are from a protest organised by @friends_of_the_thames last year outside City Hall in London. These include activists such as @mermaidlaurareineke Chief Executive of Friends of the Thames and team members of @riveractionuk Friends of the Thames is a charity run entirely by volunteers, uniting a growing movement of river guardians who speak up for the Thames and help secure its future.
 - River Action is a registered environmental charity and campaigning group working to save Britain's rivers from serious pollution. Images: 4 - 7 - Taking Action is something that we can all do. taken in London, United Kingdom by @map6collective
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2 days ago
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Some action has been taken against Thames Water, such as in October 2023 and March 2024, after controversial internal dividend payments of £37.5 million and £158.3 million. Ofwat put Thames Water into a formal cash lock-up, making any future dividend payments illegal without explicit regulatory consent. Other attempts at preventative actions have been attempted, such as CEO’s being blocked from receiving performance bonuses. Yet, in reality this remain unaffected, as Thames Water’s Chief Executive Chris Weston’s total pay rose to £1.16 million in the year to 31 March 2026. His basic pay was also increased by 14% from 1 April this year to £995,000, all whilst the company publicly announces that it could run out of money by November. It is more important than ever to ensure that companies are held accountable for their actions, by using and showcasing the information that they are legally required to publish. This project aims to create a way to visually challenge Thames Water, and highlight the need for the government to provide real solutions to this ecological and social issue. Otherwise the public are left to suffer the consequences of their corporate greed. I would also recommend checking out @edsykes work Sewage Heads, which is another brilliant way to explore such a shitty subject. by @map6collective
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3 days ago
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Today I will be sharing work from one of my latest projects; Effluent Evidence: A Visual Investigation of Thames Water’s Data. This is an ongoing project using open data to photographically investigate the impact of the water company Thames Water’s dumping of raw sewage into our waterways.  Since 1989, under the Conservative Government of Margaret Thatcher, water was privatised, it’s debt was £0. Now the combined debt of water and sewage companies in England and Wales is estimated to be between £60 billion and £72 billion Today there is no better way to explain the last 37 years than ‘an absolute shit show’. Sewage is pumped into all UK waterways and each water company is heavily indebted whilst having paid out billions in dividends. As a response to the absolute failing of these water companies, in 2017 the Environment Agency demanded that all the water companies track the frequency and duration of storm overflow activity. In accordance with these guidelines, Thames Water has been obligated to make their records publicly available. This project utilises their public data, capturing long exposure images that match the length of their sewage discharges. Each photograph is taken at one of the locations of a Thames Water storm overflow, based on their Event Duration Monitoring (EDM) map.  Since 2020, Thames Water’s data shows that they have dumped 1.78 million hours of sewage into waterways, equating to 134 years. When reviewing the same information from all water companies in England, Wales and Scotland, 24 million hours of sewage spills have been recorded, adding up to a total of 2,739 years Thames Water’s current debt amounts to upwards of approximately 84% of the regulatory asset value of the company, considerably higher than the 60% benchmark set by Ofwat (The Water Services Regulation Authority). Furthermore, the company has has paid out roughly £7.2 billion to £10.4 billion in total dividends since their privatisation some 30 years ago. Images of EDM locations photographed with corresponding time to sewage dumping, images are supported by the historical discharge data taken from The Sewage Map. Final slide direct from Thames Water EDM Map by @map6collective
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3 days ago
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Some further work from The Proscription of Palestine Action: The Spectacle of Absurdity. Palestine Action’s proscription as a terrorist organisation, means they have been added to a list that includes Al-Qaeda and ISIS, whilst opposing and trying to stop the abetting of a genocide. Ironically in 2003, the now former UK Prime Minister, Kier Starmer defended an activist while working as a barrister under similar circumstances. Activists had broken into RAF Fairford with the aim of preventing war crimes in Iraq, Starmer defended his client’s actions; determining it “not terrorism, but conscience”. His government was asking us not to believe what we all have seen live streamed and are declaring a group actively trying to disrupt a genocide and war crimes, as terrorists. In a small step in the right direction, the UK Foreign Secretary Ed Miliband stated at the Labour Party Conference on 28/09/26 that: “I want to say to the millions of people in this country, and indeed elsewhere who have been moved and outraged by the plight of the Palestinian people, we hear you. You were right”. This comes a year after the International Association of Genocide Scholars declared in 2025, that Israel’s actions in Gaza meet the legal definition of genocide. Palestine Action have been granted permission to a final challenge against the proscription in the Supreme Court toward the end of 2026. - As part of this work, I self published 200 newspapers and distributed them for free during the September 2025 protest outside the Houses of Parliament. The newspaper featured my images, a text I wrote about this moment in time and the artwork that I made. The newspaper can be downloaded for free on my website, direct link available at @alex__robertson bio. The International Association of Genocide Scholars: Resolution on the Situation in Gaza, is also available to download via direct link also available in my bio. - Image 15-16: Self published newspaper. Image 17-19: Handing out of newspaper during September 2025 protest, thank you to @imagesbymattpayne for helping me on the day and for making these images taken in Parliament Square by @map6collective
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4 days ago
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The work I’m sharing today; The Proscription of Palestine Action: The Spectacle of Absurdity, continues yesterdays theme exploring activism, direct action and representation. The work captures ‘scenes’ from major protests against the proscription of Palestine Action. Palestine Action are a group who define themselves as “a direct action movement committed to ending global participation in Israel’s genocidal and apartheid regime. Using disruptive tactics, Palestine Action targets corporate enablers of the Israeli military-industrial complex and seeks to make it impossible for these companies to profit from the oppression of Palestinians”. These images were made during two separate protests held outside the Houses of Parliament, London in August and September 2025, organised by @defendourjuries . Members of the public took to Parliament Square with signs stating; “I Oppose Genocide, I Support Palestine Action”, something that played upon the boundaries of the law. Their actions could lead to arrest under the Terrorism Act, as they could be charged for expressing support for a proscribed group. Using the performative nature of direct action, these protests bridged a gap between instrumental disruption and symbolic communication. Rather than merely being a mechanical tool to force a material outcome, their actions operate as a political conflict through a theatrical lens. Through a subversive approach, the work discloses the images' awareness of their own deceptive nature. Bold artificial lighting constructs an apparently fabricated reality aiming to help question how reality is presented to us, much the same way that idea that the “truth” is being presented to us. These moments when captured create ‘scenarios’; referring to the performative and emotional construct of image-making: encapsulating the theatrical perspective as well as the speculative power of imagery and narrative. As part of this work I made an accompanying artwork exploring the notion censorship, seen on the last slide. taken in Parliament Square by @map6collective
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4 days ago
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Some further work from Revisiting the XR Gaze. To make sure that the collaborative process continued beyond the photographic transaction, I self published 100 newspapers and distributed them for free during a four-day demonstration organised by Extinction Rebellion called "The Big One” in 2023. It felt like a good way to offer something back, I made sure to look for the people who I had made pictures of and try to make sure they got a copy, which many did. The newspaper featured my images, a text I wrote about them and words written by one activist who wanted to share a message when I was making the portraits. The newspaper can be downloaded for free on my website in the publications section, direct link available at @alex__robertson bio. - Image 1-5: This newspaper was the final test print of the paper before final run, seems I never kept one of the final ones. Image 6: The credits for the final newspaper that was distributed. Image 7: The only picture I have from distributing the newspapers during the "The Big One” in 2023. taken in London, United Kingdom by @map6collective
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5 days ago
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The next work I’m sharing is; Revisiting the XR Gaze, a project shot between 2021 and 2022 of @extinctionrebellion (XR) activists. The goal was to provide members a role in their own photographic representation. I aimed to create an equal space between photographer and subject, during the photographic transaction through a collaborative process. By setting up a backdrop at protests and gently approaching or being approached by people, we were able to establish a shared connection. Having predominantly seen images that engaged in tropes of arrests, confrontations or disruption, there seemed to be the need for a portrayal that offered individuals taking part in actions, a greater form of representative consent. There had been a heavy focus on dismissing Extinction Rebellion (XR) protesters as "hippies," "crusties," or "uncooperative crusties" by politicians, the media, and critics. This stereotyping often served to shift the public focus away from climate data and onto the appearance or tactics of the activists. This meant that the collectives’ message of seeking immediate climate justice or taking action was very much in danger of being lost. It felt like an important time to do this and different way to engage in this type of project, as the Conservative UK government were working on making serious changes to Police, Crime, Sentencing and Courts Act. The Extinction Rebellion protests were used as a major factor for the government at the time, to pursue implementing these changes. They chose to focus on the arrests and disruption whilst ignoring the actual issues addressed by XR. These law changes have been extremely controversial and continues to be. The Police, Crime, Sentencing and Courts Act 2022 significantly expanded police powers to restrict peaceful protests and direct action in England and Wales. Now the UK government is considering to grant licenses for Jackdaw and Rosebank, being new oil and gas projects in the North Sea, whilst scientists and environmental groups argue it violates the Paris Climate Agreement. The real consideration is, if these licenses are granted and our climate agreement is reversed, who are the real criminals? taken in London, United Kingdom by @map6collective
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5 days ago
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Some further images from the Peanut Project. Whilst gentrification and personal implications of being displaced are worldwide issues, however it is the diverse communities affected by it that make each case unique. Photographing my own community, in their homes, grants the viewer access to the most intimate spaces in the lives of the very real people who have been effected by the developments in the neighbourhoods surrounding Stratford post 2012, and celebrates what they have created. - Image 1: Abdul Image 2: Clyde & Meka Image 3: Max Image 4: A Percy Dalton's Famous Roasted Peanuts packet, that would have been filled at the warehouses when it was a packaging factory. A very lucky find on eBay. - I am incredibly grateful to everyone who has participated in this project so far and look forward to continuing making work about our community, whilst fighting to preserve it. You can follow the local campaign to save the community here; @fishislandcommunitynetwork taken in Hackney Wick, London by @map6collective
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6 days ago
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Hello everyone, @alex__robertson here to share some of my work with you all over the next few days, many thanks to @map6collective for having me for a guest takeover. The first work I will share is The Peanut Project; which is a series I started in 2020 documenting my own community living in repurposed Victorian warehouse units, in Hackney Wick East London, formerly the Percy Dalton peanut processing factory. The work focuses on the locals, their homes and creative hubs facing ongoing uncertainty caused by development and gentrification in the area. The pressure on the warehouses to survive this redevelopment has been in effect since London was announced to be the host of the 2012 Olympics; Stratford being the chosen location for the Olympic Park. As a direct result, the landscape has dramatically altered, resulting in countless people being pushed out of their homes to make way for expansion. Many promises were made during the campaign for the Olympics, stating that the regeneration of the area would be a direct benefit to the existing residents. However, the developers quickly monopolised on a politically vulnerable hub and transformed the situation into an agenda for their own gain. What was once a thriving collective of artists has been reduced to a fraction of what it once was. The development, marketed as a ‘riverfront community’, claims to provide spaces including studios and shops tailored towards ‘local’ artists, with a heavy focus on a consumerist culture. The irony of this lies in the existing community being evicted from and having their homes destroyed in order to ‘create’ said spaces, leaving them, the people initially that made the area a desirable location, priced out of the equation entirely. - Image 1: Calum Image 2: Babs & Fran Image 3: Blue Image 4: Elly Image 5: Baos Image 6: Lorella Image 7: Aidan Image 8: Fai & Zigy - You can follow the local campaign to save the community here; @fishislandcommunitynetwork The image of Calum will be part of @photograph_arts “Unity and Community” exhibition the Arts Pavilion at Mile End Park, London this October if anyone has the chance to go. taken in Hackney Wick, London by @map6collective
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6 days ago
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We’re delighted to have Alex Robertson as our next Guest Takeover @alex__robertson Alex Robertson is a documentary photographer based in East London, that explores ecology, the social environment and the wider political landscape. The work he produces aims to question; how can photography be utilised “as an activistic and evidential tool” to challenge and deconstruct corporate and political power structures? Using an immersive approach, he incorporates collaboration at the centre of his practice. This process is essential to his work as people directly inform his position as photographer and contribute to fact based narratives. This direct involvement within the context of his photography can be seen throughout his work, as each project has transformed his relationship with photography and narrative. He develops long term projects that involve community and investigative research, that aim to create an activistic tool beyond the confinements of simply being images. This development has seen Alex introduce new mechanisms into his storytelling process. Most prominently combining archival materials, data, documents and text into his practice. This helps him consider how to move photography beyond being a tool to document consequences and focus on the direct causes. by @map6collective
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7 days ago
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As my takeover comes to an end, I'd really like to thank Map6 for the opportunity and for platforming so many emerging artists. It was a real pleasure for me to go over my work and share it. For this final post, I have included more pictures from my book, "Inheritance" as it is very dear to me. Very few copies remain, but there are still a few available on my site. Thank you everyone for the comments, messages, and attention! I really appreciate all of it. ❤️ by @map6collective
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9 days ago
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