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  <url>
    <loc>https://www.martintoft.com/projects</loc>
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    <priority>1.0</priority>
    <lastmod>2022-03-13</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1507845007662-M7BPDO0RYP61GJLH514A/mad+cows-1.jpg</image:loc>
      <image:title>Work</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1507828545576-CT8EZR1APELF578FOJ7U/franks_secrets-1.jpg</image:loc>
      <image:title>Work - Frank’s Secret</image:title>
      <image:caption>This series of photographs were all recorded one full moon evening during a program on Channel Four called ‘Frank’s Secret’. The TV program was a documentary about Frank Sinatra and the suspicion that the notorious mafia boss Lucky Luciano gave him a golden lighter which Sinatra took with him to his grave. That was Frank’s secret, as well as the un-official secret that he was connected to the underworld during his singing career. Using the idea of secrets as a metaphor, the secret in these photographs are somewhat more ambiguous and complex. The secrets here are multifarious as the people living in the house may be watching the programme about Frank’s secret or indeed have secrets of their own. On the other hand it may be that it is the photographer who has a secret; he is secretly photographing houses at night taking up a position akin to a peeping Tom or a spy. Indeed his secrets may be compulsory, contrived or of an invested interest. But perhaps more so, the voyeur is in fact the viewer who is looking at these pictures and whatever secret he or she may bring to the work. As in all art the work only exist if there is an audience, or as French philosopher Jacques Derrida reminds us, ‘that there is only a text if there is a reader.’</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1507838998302-U3ZOQNLCJKGYV72FWP50/untitled-1.jpg</image:loc>
      <image:title>Work - Untitled</image:title>
      <image:caption>In a small village in the middle of France I came across a beach ball on the side of the road. I decided to try and kick the ball from one end to the other.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1508274500870-VBEJH0BU4VRDY8Z76663/plein-air-5.jpg</image:loc>
      <image:title>Work - Plein-Air I-V</image:title>
      <image:caption>In the guise of a landscape painter (plein air) I began walking through Europe putting myself in the picture as a frontman; my own subjective broadcaster, interpreter and adventurer. Inundated by both universal, personal and artistic frustration I set out on an idiosyncratic performance, making my pain public by placing myself within the work through the presence of an alter-ego. Going to Kosovo not to solve problems but to make art - to create problems. I wanted to challenge the artist's social function and explore people's perception of art and its possibilities of creating a dialogue for peace. By generalising the painter’s mark, sign, gesture and the event of painting through interdisciplinary activity and the use of time-based media I attempt to re-interpret the concept of painting into one as a dynamic act rather than static object. Painting as adventure, as event, as life.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1507484184138-5DD7EE6Q35L6CIETHF4I/atlantus-1.jpg</image:loc>
      <image:title>Work - Atlantus</image:title>
      <image:caption>Atlantus is a transoceanic photography project between Martin Toft and Gareth Syvret at Archisle: the Jersey Contemporary Photography Programme, hosted by the Société Jersiaise Photographic Archive on the Island of Jersey. Prompted in part by the 350th anniversary in 2014 of Sir George Carteret naming of the State of New Jersey, USA after Jersey his island home in 1664, the project asks how two places that share a name on opposite sides of the Atlantic Ocean perceive each other within archives and cultural memory? In five stories that respond through image and text to the people, politics, landscapes, industries and identities of these places the Atlantus Project connects memories, archives and imagined lands on opposite sides of the Atlantic world through contemporary visual discourse. Atlantus is a transoceanic narrative in which estranged lands of incomparable scale come together in poetic gestures that ask: what’s in a name?</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1507818314259-TRUBCJ68HWVYU0ZTGV3Y/tableaux_vivants-1.jpg</image:loc>
      <image:title>Work - Tableaux Vivants</image:title>
      <image:caption>With inspiration from cinema and the history of painting this series of twelve photographic self-portraits and three video works is an antithesis to Baudelaire’s famous essay about the need for a painter who can depict the heroism of modern life in the end of 19th Century fin-de siècle France. Portraying the (anti)heroism of the everyday these large panoramic photographs explore representations of the male body and are a comment on the crisis in masculinity, revealing the complexities of contemporary life of a young man and his estranged relations with family, friends and lovers. The photographs is dealing with the theme of the self and are revealing the psychology of the artist at home in private moments which normally are not on display in public. Staged in each of their own, middle-class, domestic and interior spaces they are directly challenging the artist as a hero with particular reference to the work of Édouard Manet, Édouard Vuillard and other early impressionist paintings of the figure - especially representations of the male body and masculinity as seen in the work of Gustave Caillebotte. This body of work attempts to question the genre of self-portraiture and portray the artist’s body both as subject and object.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1537804927420-6E7U02ATN2RU139DCO8T/seaflower-2.jpg</image:loc>
      <image:title>Work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1507144730857-QP0X9WRZTAWIMWCXY916/teahika+%281+of+1%29.jpg</image:loc>
      <image:title>Work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1508356973732-HJCQEEYPHANQX3NZV8DK/enter_if_you_can-3.jpg</image:loc>
      <image:title>Work - Enter If You Can</image:title>
      <image:caption>Enter if you can is a project about being homeless in London. The title was graffiti'd on the entrance to a homeless person's bash (semi-permanent home built from scavenged materials) and summon up my relationship with London and the people I met on the streets in 1996 after years of travel and unsettlement. The photographs represents an intimate portrait of rough sleepers, people in hostels and other vulnerable housing. During the project I collaborated with journalist and author Mark Piggott, who himself has experienced homelessness and written widely about it for national newspapers. At the time we had made a book manuscript reflecting on a personal and lyrical interpretation of the street phenomena and spirit. We wanted to make a book that showed the invisible barrier in our society - reflecting on ourselves - and the time we were living in. New digital scans from b&amp;w film negatives are in the process of being prepared. Re-visiting this project for a new photobook design is also planned for the future.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1507823607494-XS8SWTUWN3XL1BG6P54A/masterplan-1.jpg</image:loc>
      <image:title>Work - MASTERPLAN</image:title>
      <image:caption>The island of Jersey is one of the world’s leading offshore International Finance Centres. In the second half of the twentieth century Jersey’s economy has experienced a radical transformation from one based upon agriculture and tourism to a financial services industry which today commands over 50% of total economic activity. More than 100,000 people live in Jersey and in 2019, over 13,000 islanders are employed within the finance sector. Jersey Finance, the organization formed to promote the industry, stated that in 2018 the cross sector value of invested wealth held in Jersey’s banks, trusts, special purpose vehicles and funds is estimated at £1.3 trillion. Masterplan is a research project using photography, film and archives to tell the story of Jersey’s contemporary prosperity as an International Finance Centre. Adopting both an exterior view of the sector from the outside and an interior examination of work within the industry it proposes to re-address parts of the legacy upon which Jersey’s economic growth and development in the past, present and future has been told. www.masterplan.je</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1507818933534-XYAPKKEX515AYLSAXUE2/interventions-22.jpg</image:loc>
      <image:title>Work - INTERVENTIONS  - A walk across Europe to Kosovo</image:title>
      <image:caption>INTERVENTIONS was conceived under the influence of war in Europe when NATO decided to intervene in the conflict in the Balkan in 1999. I was watching news bulletins on TV most nights and witnessed both the ethnic cleansing by Milosevic' troops and the bombing by air by NATO forces. In the guise of a landscape painter (plein air) I began walking through Europe putting myself in the picture as a frontman; my own subjective broadcaster, interpreter and adventurer. I wanted to challenge the artist's social function and explore people's perception of art and its possibilities of creating a dialogue for peace. My idiosyncratic performance during 78 days across the European landscape is an inquiry into distance - the journey itself. It is the existence of the journey, and not the essence of the destination. Kosovo is not the subject of my work but a mere stop to my journey. My position is akin to that of a passer-by constantly trying to situate himself in a moving environment. Each intervention is another fragment of the story that is being invented and a challenge to the narrative and economic structure of Western representation.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1590568554943-QLHOMNJ1GNH7QDIN3LG1/Field+Hospital_Martin+Toft-1.jpg</image:loc>
      <image:title>Work - Field Hospital</image:title>
      <image:caption>The island’s response and management of the current coronavirus outbreak is significant in Jersey’s living memory. This event may turn out to be as decisive as the German Occupation in 1940-45. A temporary field hospital has been built at Millbrook Playing Field as part of Jersey’s defence against a spread of the pandemic. Site preparation began on 9 April and on the 200th anniversary of the birth of Florence Nightingale, Jersey’s own, temporary, Nightingale Wing of the General Hospital was officially opened by HRH The Earl of Wessex, Prince Edward via video link. The Jersey Nightingale Hospital create an additional 180 beds for coronavirus patients, who will be provided with acute, enhanced and ongoing levels of medical care. The Nightingale Wing is now on standby awaiting its first patients of Covid-19 after 36 hours of assimilation where staff and volunteers acted out a number of clinical scenarios as a means to train its personnel and monitor how the field hospital itself would cope in a perceived spike of new cases emerging as the current island lockdown is slowly being lifted. This sense of theatre and play is essential to the very nature of photography which from its very outset in early 19th century was imbued with a degree of artifice.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1590612757502-UEMPVEKSHDZ3YH25T1KP/The+Graveyard_Martin+Toft-1.jpg</image:loc>
      <image:title>Work - The Graveyard</image:title>
      <image:caption>Following a similar trajectory as many other nations around the world the island of Jersey went into lockdown on 29 March in an effort to slow the spread of Covid-19. For many the experience of coronavirus pandemic has been one of dealing with death, both real and imagined. Thinking about the nature of death and mortality in broader terms I began to make images in response to the immediate environment and community in the parish of St Lawrence where I reside. The parish occupies the centre of the Island and much of it is inland, though it has a short stretch of coastline in St. Aubin's Bay. I live at Abbey Gate right in the heart of the village situated next to the parish church and its graveyard. The images here are all made in the vicinity and acts as metaphor for our contemplation of mortality at a time when real death is literally starring us in the face. From my bedroom window a wide view of the graveyard is visible and at some point in time this room was a carpenter’s workshop where coffins were made. The names of some of the deceased are still inscribed in chalk on the beams in the ceiling, which at night glows likes ghosts. Research during self-isolation lockdown are showing that sleeping patterns are disturbed and vivid, bizarre dreams are occurring more frequently. Perhaps, our nightmares are not narratives played out in our subconscious mind, but in fact a new reality we have to accept. In Camera Lucida, French thinker, Roland Barthes’ most celebrated book on photographic images, he famously reflects on the medium’s relationship with time, and in particularly death when looking at photographs of his mother who had recently passed away. He writes: ‘I dream about her, I do not dream her’.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1609699699959-S9ZZEOJ874IC05UI6RE3/archaeology_of_finance-5.jpg</image:loc>
      <image:title>Work - Archaeology of Finance</image:title>
      <image:caption>Since 2015 I have been developing MASTERPLAN – a research project using photography, film and archives to explore the story of Jersey’s contemporary prosperity as an International Finance Centre. ARCHAEOLOGY OF FINANCE is the latest visual enquiry reflecting on the material culture of finance work inside corporate environments. In 2019 I was invited to exhibit work at CAPITAL, Ballarat International Foto Biennale (Australia) and TAXED TO THE MAX, Noorderlicht International Photography Festival (The Netherlands). ‘Masterplan is a long term project exploring the transformation of the British Channel Island of Jersey from a rural community centred upon agriculture, maritime trade and tourism into an international finance centre. In less than half a century the island’s traditional economic bases have been almost entirely supplanted by a finance industry offering low tax wealth management services to high net worth residents and investors. Jersey has a rich pre-historic landscape and archaeological record reflecting human occupation extending over 250,000 years. While extensive photographic archives of pre-historic archaeology, landscape, social history and pre-finance industries have been accumulated, little record of what takes place inside the walls of the island’s banks, legal offices and accountancy firms exists. Photographing finance work is difficult; firstly, because of the intangibility of financial capital. Further, in an industry that specialises in the implementation of legal tax avoidance mechanisms in a securitised environment, client confidentiality is king. Toft’s requests to access the workplaces of contemporary finance have invariably been rejected by corporations. A number of Jersey banks have recently moved from offices constructed during the early boom of the island’s finance sector in the 1970-80s into high tech twenty-first century premises. Like the island’s archaeologists, Toft has gained access to these abandoned sites to record the traces left by finance workers. Applying the methods used in photographic archives for recording archaeological finds of pre-historic material culture, he offers these images up to the historical record. When compared with the photographs of artefacts we are familiar with from museums of ancient culture they seem absurd and of questionable value. As such Toft’s photographs question the nature of finance work as a process of production and reflect upon the status of the intangible economies that have come to dominate contemporary life.’ Curator Dr Gareth Syvret, CAPITAL, Ballarat International Foto Biennale 2019</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1563493729014-XYDBRPHXLBO7NFHMKIMJ/entrepot-1.jpg</image:loc>
      <image:title>Work - Entrepôt</image:title>
      <image:caption>Throughout history the island of Jersey has always operated as an entrepôt– a trading post between Europe and the United Kingdom resulting in different industries exploiting constitutional loopholes and benefitting from economic trading relationships with business partners worldwide. Within the context of Brexit and uncertainty of future trade relations Entrepôt will explore how, through the prism of colonial and family history, Jersey’s original wealth generated by the proceeds from the North Atlantic fisheries and maritime trade in the 17th, 18th and 19th centuries lay the foundation for the island’s contemporary prosperity as an International Finance Centre. Theoretically, Entrepôt is based around Rosemary E. Ommer’s structural economical analysis of the Jersey-Gaspé cod fishery which reveals a functional three-pointed trading system in what she refers to as a ‘merchant triangle’ with production in Canada, management in Jersey and markets in the Mediterranean, the West Indies and Brazil. Her central question in her book is: ‘How did the cod-fishery, functioning as a commodity trade, shape the economic development of the metropole that managed it and the colony that produced it.’ (Ommer) Jersey’s historic merchant trade of global commodities conducted across multiple outposts can be seen as a blueprint for a future offshore financial services industry facilitating international flow of capitol from other jurisdictions. Combining two long-term research and lens-based projects The Seaflower Venture and Masterplan it proposes to re-address parts of the legacy upon which the island’s economic growth and development in the past, present and future has been told.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1579030252696-FDXLRXW2GZSFV9JZ2IHB/becque_a_becque-1.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>Becque á Barbe: Face to Face On 19 December 2016 the United Nations General Assembly proclaimed 2019 as the International Year of Indigenous Languages. In that same year I began research around Jèrriais – the island of Jersey’s native language of Norman French. I am born in Aarhus the second largest city of Denmark, which was founded in the 8th century as a fortified Viking settlement. What fascinates me about the linguistic origin of Jèrriais is the influence of Old Norse, which can be found in Jersey’s native tongue; such as the place name L’Etacq - meaning a stack. On a linguistic level the project is exploring the space between the formal, etymological and vernacular use of Jèrriais. Photography as a medium is mute and the challenge is to photograph, what essentially is a spoken language. Each portrait is titled with a Jèrriais word that each native speaker has chosen to represent a personal or symbolic meaning, or a specific memory linked to his or her childhood. Some portraits are darker in tonality to reflect the language hidden past at a time when English was adopted as the formal speech in Jersey and Jèrriais was suppressed publicly and forbidden to be spoken in schools. Juxtaposed with portraits of Jèrriais speakers are a series of photographs of Jersey rocks that are all designated as Sites of Special Interest (SSIs); important geological outcrops that are protected from development and preserved for future public enjoyment and research purposes. The native speakers of Jersey French should be classified as People of Special Interest (PSIs) and equally be protected from extinction through encouraging greater visibility and recognition as guardians of a unique language that are essential in understanding the island’s special character. Becque á Barbe: Face to Face is currently a finalist in Gomma Grant 2021 and a selection of work were exhibited at CCA Galleries International, St Helier, Jersey 23 May - 12 June 2019</image:caption>
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  <url>
    <loc>https://www.martintoft.com/blog</loc>
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    <priority>0.75</priority>
    <lastmod>2025-06-27</lastmod>
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  <url>
    <loc>https://www.martintoft.com/blog/2025/6/27/dispatch-2-north-america</loc>
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    <priority>0.5</priority>
    <lastmod>2025-10-27</lastmod>
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      <image:title>News - Dispatch 2: North America - Offloading crab Chéticamp Harbour</image:title>
      <image:caption>Cape Breton, Nova Scotia, Canada. 18 April. Martin Toft</image:caption>
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      <image:title>News - Dispatch 2: North America - Kaelam Paruch and John Robinson, Crab Offloaders</image:title>
      <image:caption>Chéticamp Harbour, Cape Breton, Nova Scotia, Canada. 18 April. Martin Toft.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/59d12891ccc5c5f5dcd4e879/1751028207004-1CEYT9UECVHJZ4ZVERFJ/ENTREPOT_CANADA_MARTIN+TOFT-15.jpg</image:loc>
      <image:title>News - Dispatch 2: North America - La Pointe</image:title>
      <image:caption>Location of the Robin's first fishing station on Chéticamp Island established in 1767. Cape Breton, Nova Scotia. Canada. 18 April. Martin Toft.</image:caption>
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      <image:title>News - Dispatch 2: North America - Crab Processing workers</image:title>
      <image:caption>Petit De Grat Packers Limited. Arichat. Île Madame, Nova Scotia, Canada. 16 April. Martin Toft</image:caption>
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      <image:title>News - Dispatch 2: North America - Arichat</image:title>
      <image:caption>Île Madame, Nova Scotia. 16 April. Martin Toft.</image:caption>
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    <loc>https://www.martintoft.com/blog/2025/6/27/dispatch-1-north-america</loc>
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    <lastmod>2025-06-27</lastmod>
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      <image:title>News - Dispatch 1: North America - Make it stand out</image:title>
      <image:caption>Long wharf and shipping, by J.W. &amp; J.S. Moulton, 1865. Stereoscopic views of Boston harbour and beaches and the Charlestown Navy Yard, originally from Robert N. Dennis collection of stereoscopic views. New York Public Library.</image:caption>
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  <url>
    <loc>https://www.martintoft.com/blog/2024/8/8/dispatch-2-caribbean</loc>
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    <priority>0.5</priority>
    <lastmod>2025-03-18</lastmod>
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      <image:title>News - Dispatch 2: Caribbean</image:title>
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  <url>
    <loc>https://www.martintoft.com/blog/2024/7/31/dispatch-1-caribbean</loc>
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    <priority>0.5</priority>
    <lastmod>2024-08-29</lastmod>
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      <image:title>News - Dispatch 1: Caribbean</image:title>
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      <image:title>News - Dispatch 1: Caribbean</image:title>
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      <image:title>News - Dispatch 1: Caribbean</image:title>
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      <image:title>News - Dispatch 1: Caribbean</image:title>
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      <image:title>News - Dispatch 1: Caribbean</image:title>
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  <url>
    <loc>https://www.martintoft.com/blog/2024/1/22/interview-rod-mcloughlin-in-the-jersey-evening-post-today</loc>
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    <lastmod>2024-01-25</lastmod>
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      <image:title>News - Interview with Rod McLoughlin in the Jersey Evening Post today</image:title>
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      <image:title>News - Interview with Rod McLoughlin in the Jersey Evening Post today</image:title>
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    <lastmod>2019-06-11</lastmod>
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    <lastmod>2019-06-11</lastmod>
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    <lastmod>2019-06-11</lastmod>
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    <lastmod>2019-05-31</lastmod>
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    <lastmod>2019-05-29</lastmod>
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    <lastmod>2019-05-07</lastmod>
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    <lastmod>2019-03-17</lastmod>
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    <lastmod>2019-02-05</lastmod>
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    <lastmod>2019-02-05</lastmod>
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