APOSTATE
This work explores the personal impact and aftermath for people leaving high-control religions.
It is a celebration of resilience.
APOSTATE
This work explores the personal impact and aftermath for people leaving high-control religions.
It is a celebration of resilience.
STATEMENT
The right to practice and believe in religion is a fundamental human right, as is the right not to believe. However, for those who choose to leave their religions, this right comes at significant personal cost. Individuals with whom I have spoken have faced loneliness, emotional abuse, and neglect, some enduring physical harm. Their experiences are unique but share common themes, particularly the presence of coercive control. Yet, despite these hardships, they want to share their stories.
The term apostate is often used as a derogatory label, and those who leave their religions may face shame and persecution from both their biological and religious families. In a deliberate act of rebellion, the people collaborating on this project are reclaiming the label, standing up to their oppressors, and asserting their resilience.
STATEMENT
The right to practice and believe in religion is a fundamental human right, as is the right not to believe. However, for those who choose to leave their religions, this right comes at significant personal cost. Individuals with whom I have spoken have faced loneliness, emotional abuse, and neglect, some enduring physical harm. Their experiences are unique but share common themes, particularly the presence of coercive control. Yet, despite these hardships, they want to share their stories.
The term apostate is often used as a derogatory label, and those who leave their religions may face shame and persecution from both their biological and religious families. In a deliberate act of rebellion, the people collaborating on this project are reclaiming the label, standing up to their oppressors, and asserting their resilience.
THE APOSTATE PROJECT
Each contributor to this work has left a religion in which they experienced extreme levels of control. Religions including Scientology, Mormonism, Jehovah's Witnesses, Evangelical, and Islam. Participants have also endured bullying, physical harm and homelessness. While their experiences are unique, they find common ground, marked by recurring themes of coercive control. This project aims to provide a space for individuals, affected by high-control religions, where they may contribute to the broader conversation about the personal impact and aftermath of leaving such organisations.
Writer and critic, Susan Sontag described the “predatory nature of taking a picture,” framing photography as a potentially exploitative act that reveals underlying power dynamics. These dynamics resonate deeply with the contributors’ own experiences of control. To ensure the process remains genuinely collaborative, it has been approached with care, substantial participant input, and a commitment to allowing each individual to determine how and where they wish to be photographed.
The body of work includes portraits, photographs of meaningful places and personal items, and images that signify acts of rebellion, such as tattoos and piercings that were previously forbidden. Some participants have also contributed textual elements. The location and representation of each person have been decided mutually – many participants choose to be identified and all wish for their stories to be shared as an act of reclaiming agency. For those who prefer anonymity, their identities are protected, allowing them to contribute on their own terms.
THE APOSTATE PROJECT
Each contributor to this work has left a religion in which they experienced extreme levels of control. Religions including Scientology, Mormonism, Jehovah's Witnesses, Evangelical, and Islam. Participants have also endured bullying, physical harm and homelessness. While their experiences are unique, they find common ground, marked by recurring themes of coercive control. This project aims to provide a space for individuals, affected by high-control religions, where they may contribute to the broader conversation about the personal impact and aftermath of leaving such organisations.
Writer and critic, Susan Sontag described the “predatory nature of taking a picture,” framing photography as a potentially exploitative act that reveals underlying power dynamics. These dynamics resonate deeply with the contributors’ own experiences of control. To ensure the process remains genuinely collaborative, it has been approached with care, substantial participant input, and a commitment to allowing each individual to determine how and where they wish to be photographed.
The body of work includes portraits, photographs of meaningful places and personal items, and images that signify acts of rebellion, such as tattoos and piercings that were previously forbidden. Some participants have also contributed textual elements. The location and representation of each person have been decided mutually – many participants choose to be identified and all wish for their stories to be shared as an act of reclaiming agency. For those who prefer anonymity, their identities are protected, allowing them to contribute on their own terms.
STORY / MESSAGE / PURPOSE
Share the voices of individuals affected by high-control religions, contributing to the conversation on the personal impact of leaving these groups.
WHY? (I am making this work)
My wife and I live in Northern Ireland, where we were deeply affected by the abortion laws. When we learned that our unborn baby had a fatal anomaly, abortion was illegal, and my wife was forced to carry the pregnancy until our baby died at 35 weeks and three days. This law, rooted in religion, sparked my desire to understand the profound impact of organised religion on other people's lives. The Apostate project is a way for me to explore and share these stories.
OUTCOME
The people contributing to this work are located throughout the UK and Ireland. Ideally, there will be a tangible outcome that allows participants to witness their stories shared. This could be achieved with a printed publication or perhaps a touring exhibition, which can be seen in public spaces.
STORY / MESSAGE / PURPOSE
Share the voices of individuals affected by high-control religions, contributing to the conversation on the personal impact of leaving these groups.
WHY? (I am making this work)
My wife and I live in Northern Ireland, where we were deeply affected by the abortion laws. When we learned that our unborn baby had a fatal anomaly, abortion was illegal, and my wife was forced to carry the pregnancy until our baby died at 35 weeks and three days. This law, rooted in religion, sparked my desire to understand the profound impact of organised religion on other people's lives. The Apostate project is a way for me to explore and share these stories.
OUTCOME
The people contributing to this work are located throughout the UK and Ireland. Ideally, there will be a tangible outcome that allows participants to witness their stories shared. This could be achieved with a printed publication or perhaps a touring exhibition, which can be seen in public spaces.
DISPOSABLE CAMERA
TIPS
1. It’s Your Story
You are in control > Think about stories that can be made with your photos.
2. Make it Personal
Make photos of the things that are most important to you, and your life - Photograph your people, events, places, and objects.
3. Get Close but Not Too Close
Try different distances from you subjects and look around the frame in the viewfinder to make sure you are close or far enough away. These cameras usually don’t focus well on subjects closer than 3–4 feet (1 meter). Step back a little for sharper images.
4. Know Your Limits
You have 27 exposures. Be mindful with your shots—you can't delete and redo!
5. Think About Natural Light
For best results, shoot in daylight, overcast days’ work too, just avoid very dark places. The built-in flash is weak but helpful in dim situations. Turn it on for indoor shots, evening light, or shady areas, even outdoors.
6. Hold Steady
The shutter can be slow, so hold the camera still, and press the shutter button gently to avoid blur.
7. Avoid Backlighting (unless you want silhouette)
If your subject has a bright light or sun behind them, they’ll turn into a silhouette. Try to keep the light source behind you instead.
8. Wind the Film On
After each shot, you’ll need to manually wind the film until it clicks, don’t rush or force it.
9. Don’t Rush 😊
You don’t need to make all the pictures at the same time - Wait for the right occasions that work for you.
10. Embrace the Experience
There’s no right or wrong so don’t worry about perfection, try emotion and spontaneity!
DISPOSABLE CAMERA
TIPS
1. It’s Your Story
You are in control > Think about stories that can be made with your photos.
2. Make it Personal
Make photos of the things that are most important to you, and your life - Photograph your people, events, places, and objects.
3. Get Close but Not Too Close
Try different distances from you subjects and look around the frame in the viewfinder to make sure you are close or far enough away. These cameras usually don’t focus well on subjects closer than 3–4 feet (1 meter). Step back a little for sharper images.
4. Know Your Limits
You have 27 exposures. Be mindful with your shots—you can't delete and redo!
5. Think About Natural Light
For best results, shoot in daylight, overcast days’ work too, just avoid very dark places. The built-in flash is weak but helpful in dim situations. Turn it on for indoor shots, evening light, or shady areas, even outdoors.
6. Hold Steady
The shutter can be slow, so hold the camera still, and press the shutter button gently to avoid blur.
7. Avoid Backlighting (unless you want silhouette)
If your subject has a bright light or sun behind them, they’ll turn into a silhouette. Try to keep the light source behind you instead.
8. Wind the Film On
After each shot, you’ll need to manually wind the film until it clicks, don’t rush or force it.
9. Don’t Rush 😊
You don’t need to make all the pictures at the same time - Wait for the right occasions that work for you.
10. Embrace the Experience
There’s no right or wrong so don’t worry about perfection, try emotion and spontaneity!