“One photographer that impressed me enormously – but it wasn’t my kind of thing at all; I didn’t really do it, but I thought it was brilliant. And also use of text. Both actually – both used text and image. It was Ed van der Elsken.” Excerpt from a tape-recorded interview with Lewis Baltz […]
“I’d been playing drums in a few bands, Th’ Faith Healers and Stereolab among others, and between tours and photo jobs I’d take off on photo projects of my own, often to Berlin. Eventually I got a place in Berlin, because I realised it had a lot of what London was losing, it’s a […]
“We are on occasion reminded on occasion of a great plague pit, its underground presence rewarded with a blue plaque to signify its existence as both a terrible debacle in our local history and yet it tellingly reminds us of the foreboding possibility for futures yet unspoken” Trauma is a strange attractor. Just as […]
“Perhaps it’s that what I think I know about photography is really a simple cancer in which I pretend to understand what it offers by the speed in which I believe its delivery system acts as a conduit for its understanding. Perhaps, I want things to slow down as I get older and […]
“The moat as it were, was governed by armament and barbed wire with an intervening hinterland of desolate stretch impolitely, if realistically referred to as the Death Strip. You can consider the Death Strip as an evaporated moat in which many escapees gave their lives fleeing the reverse castle. The reverse castle in real terms, […]
“Armenia and Its role in the central Caucasus make its geography of special geo-political reference given its access point, along with Azerbaijan and Georgia to both the Caspian and Black seas and their lucrative conditions of speculative petrol potential”. Yerevan, the Armenian capital is built from several considerations of the volcanic. In […]
“Photographs make up the vast majority of how we consider the narrative of California in the late 60’s and early 70’s and Dennis Stock’s California Trip exemplifies the condition for how we examine our historical memory and consciousness of the period”.
“…the decision to juxtapose the old with the new relates directly to the aporetic nature of the location. Much of what I was feeling about the development of the surrounding urban environment was a sense of dislocation and confusion.”
“However hard I tried to ‘illustrate’ an aspect of the urban environment, to unmask and present how this sleepy, suburban environment ‘functioned’ and fitted together somehow it always failed”.
“They become meditative plates in which the living continue with all their baggage to be stopped and given a reflexive moment in which to breath out”.
“It is not just the stitched building that become hidden, but also the remnants of architecture that in turn become strange shrines populating a city-disused and unserviceable pieces of utilitarian function that have not been ordered into exile…”
“Visually and technically for photography, the season is something of a conundrum, it is firstly a phenomenon that catches our impassioned attentions but it is also incredibly loathsome to be captured on film…”