Portraits from a Chip Shop is decidedly not about chips whilst having everything to do with them. In a world where connections are increasingly virtual, it is a collection which celebrates community, trust, human connection and happiness.

There are lots of remarkable things about Kazem Hakimi, and indeed about the exhibition of his photography which is currently on display at Modern Art Oxford and the Old Fire Station. As a person, he is remarkably warm and open-hearted; his eyes twinkle in the way that only the friendliest eyes do. As an artist, he has a remarkable talent. It is the magical combination of these things which has produced an exhibition loudly showcasing the loyalty and trust at the heart of the community which Kazem has nurtured around his fish and chip shop. As Jeremy Spafford, Director of Arts at the Old Fire Station, rightly put it at the preview, this exhibition "is not about chips"; it is about human interactions and togetherness. A taste for chips just happens to be the common denominator between the human subjects.

The first thing to strike you about the photos in this exhibition is their quality; Hakimi is clearly a very talented photographer and artist. In one picture, the droplets of sweat clinging to the subject's face are crystal clear, like he was stood in front of you. This beautiful clarity is particularly impressive given the context in which they were all taken. Hakimi began the project as a way of documenting the people in his fluid chip shop community, asking certain customers to come into his back room after they'd placed their order. He'd then have between 15 and 60 seconds to take a photo of them, before their dinner burned (since his food is all made to order).

But the photographs are not just high quality; there is something special going on here too. Each photograph captures a spirit, and a moment, which has been allowed by the nature of the warm bond which Hakimi seems to offer everyone he encounters. Hakimi says he sees the good in people and he hopes that by looking at the photographs, viewers will be encouraged to see the good too. How often do you get to look at someone's face and study the minor details of it? Kazem has given us the opportunity to do so by documenting this community, brought together by their area code. There's a wonderful, powerful paradox which opens up when a series of solo shots represents togetherness.

This is also reflected in the collaborative nature of the exhibition, which is divided equally between the Old Fire Station and Modern Art. Hakimi's world-view, that "individuality is not happiness - togetherness is happiness" seems to have seeped into all aspects of this exhibition. Long may it continue - the world has a lot to learn from Kazem Hakimi.

As an extra treat, here is DI's very own Michael as photographed by Kazem himself.

Just like the result of a strong, clear-cut debate, the eyes have it in this open voiced, big hearted and forward looking exhibition comprising of portraits taken by Kazem Hakimi. The subjects are customers of Hakimi's Iffley Road fish and chip shop and are taken from a collection he amassed over 3 years entitled OX4. There are no titles or quotes attached to the images. They speak for themselves. The subjects were captured in less than 60 seconds against a white wall whilst their food order cooked. This fish and chip shop is more than a place to eat; Hakimi creates a culture where this is a place to meet. Something our gadget driven world is crying out for.

The OX4 series began when Hakimi, who developed his photographic skills for 30 years, looked for ways he could combine his Artistic expression along with his 14 hour shifts at this popular eatery. Either Hakimi has chosen strong people to capture or he brings out the strength in those he portrays. Selected work from the series is exhibited both at the Old Fire Station and Modern Art Oxford. On show at the latter location is a man ready to pull a punch, a proudly tattooed man, a child freely laughing, a serene nun and a distinctly proud old woman.

The expression on each of the portraits is unique as the dominant quality of each person is fully captured. There is no acting up to the camera as seen in the filtered photoshopped images of modern day mass advertising. The flattering pout that may have been perfected for selfies is also absent. The only accessories worn by the subjects is a hat or glasses. The true gift this exhibition gives viewers is being privy to the connection Hakimi has built up with each of the subjects. They look straight down the lens and trust is expressed in their faces.

From just one photograph a glimpse into the lives of another person is delivered and humanity shines out with the eyes looking out to the horizon for the next chance life can offer. A new landscape of the city of dreaming spires is created.