A Map Without Words
Zoe Hamill
Nominated by
Zoe Hamill

"A Map Without Words" is an investigative study into the land that I’m from, a small townland in Northern Ireland that has been home to generations of my family. Despite their deep connection to the land, these working-class lives are often absent from official archives.
To counter this narrative, I created a catalogue of my images based on British Museum standards, creating an archive of the land from my family’s perspective. The work underscores the value of these places to us while also critiquing the limitations of photography and archives in fully capturing their significance.
The Artist

Zoe Hamill
Nominated in
2025
By
Zoe Hamill
Lives and Works in
Edinburgh
Zoe is a photographer from Co. Antrim, now living in Edinburgh.
Zoe is interested in the relationship between humans and the environment, as well as the systems of classification that we use to make sense of the world around us. She works on long term photographic projects, drawing on scientific and historic research as well as lived experience to tell a story about a place or subject. Her background research has been informed by photography’s history as a tool of imperialism and this is something that she works to recognise and subvert within her photographic practice.
She currently teaches on the Stills School, an alternative education programme for young people and is a visiting lecturer at Queen Margaret University. She has received funding from Edinburgh City Council and the Richard & Siobhan Coward Foundation and was recently included in Fantasy Island, a publication documenting the last 50 years of photography in Ireland.
Zoe participated in PhotoIreland's New Irish Works III between 2019 and 2021.
More projects by this artist
2025
Primary Succession
Primary Succession is a series exploring what we can learn from the landscape as a collaborator rather than subject, challenging colonial traditions of exploitation by seeking a new way of relating to a place as a living entity.
The shale bings of West Lothian were created by Scotland’s oil industry in the 19th Century, towering man-made heaps of spent oil-shale dotted across the landscape. Once seen as eyesores, they are now recognised as unique habitats that harbour endangered species. I am interested in what we can learn from this transformational cycle, and how we can approach nature on its own terms.
Inspired by the era of the bing’s creation (1860’s-1930’s) I have been using cameras from that time, embracing the unpredictable results and giving up much of my control over the final image. I have also been exploring other ways that I can reduce the separation between human and non-human by testing plant and earth-based chemistry made from material found on the bing, burying negatives there and investigating other ways to allow the bing to influence the project. I’ve been working to reduce the environmental impact of the series by using found, donated and expired film and paper, all of which also invites uncertainty and loss as part of the process.
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