What Remains to be Seen
These photographs posses a longevity that the landscapes do not. What Remains to be Seen examines environmental change in some of the most at risk areas of our world. With each image there is a story of loss, fragility and impending doom.
How we portray our everyday world has shifted. Relying on shock to catch the viewer’s attention has dulled our emotional response to images. When we start to focus on spectacle alone we lose sight of what is actually being talked about. So too has photography’s reliance on monumental scale, over-sharpened, and hyper saturated imagery. This has had the effect of reducing our appreciation of the everyday ordinary and the quiet beauty of the landscape. The rise of landscapes becoming politicized has also emerged, where the importance of the landscape is reduced to the events that take place on or to it. So how should photography operate within this sphere? I believe that by showing images of threatened land is important. The importance doesn’t lie in the beauty of the imagery but transcends the image so that only the facts and story that goes along with each image becomes essential.
Often there is a detachment associated with photography; the photographer makes images for the consumption of the passive viewer. As Susan Sontag wrote; photography is “essentially an act of non-intervention” detaching photographers from experiences. Photography inherently acknowledges things as status quo and leaves them unchanged. I attempt to challenge this perception and bring agency for change back to the viewer. Subtle brush strokes from the hand coating of the platinum palladium salts onto the paper and long hours working within the darkroom gives me time to reflect on my role to make a change. Through these images I feel close to the earth; I see age and time through the geology of the land.
All prints within the series are platinum palladium contact prints which are hand coated and printed in the darkroom and are each an edition of 5.