Rosie's is a coffee van run by volunteers from Rosie's Oblate Youth Mission, a group from a Catholic church on the outskirts of Melbourne, Australia.
Two nights a week they load up their mini bus with fresh hot coffee, and travel into the city of Melbourne, to hand out free coffee to whoever wants or needs it.
More than the hot coffee, I think the regulars at Rosie's like the warm support and the good natured faces of people who are willing to talk, and listen. Many have no one else who takes an interest in them or their issues.
Rosie's was started 12 years ago by a Catholic priest, and Anne, who is a nun. Anne says, "As long as I'm about, Rosie's will always go on."
I often see people I've photographed from Rosie's at other times on the streets of Melbourne. We nod hello or stop to talk briefly, and I'm comforted to know they will always have someone from Rosie's community who cares for them, and who will listen to their problems.
The photography of Vanessa Winship establishes a dialogue with the mark left by the twentieth century on people and the places they have passed through: long processes defined by movements of fracture and integration, the instability of frontiers and the reaffirmation of identities. In short, her images focus on the effect of history on everyday life.
Are front-page pictures leading us to war? A controversial yet nuanced polemic that argues America's leading newspaper has sanctified, eroticized and glamorized warfare—and that as a result, we are all being "lead as lambs to slaughter."
It's a little bit like a very contemporary TV soap opera set all across London, with rapid-paced changes of characters and scenery — and the viewer is left to connect the dots and imagine the stories.