The New Towns
The New Towns (2018-2019)
The New Towns were planned and built in England after the Second World War to relocate populations who lost their homes. In 1946 the New Towns Act set up New Town Development Corporations which were responsible for the management, design and development of New Towns. A combination of idealism and pragmatism drove their master plans. They aimed at creating a welcoming space, with walkable distances between homes, work, shops, cultural offerings and green spaces. Construction had to progress quickly and needed to stay affordable. The resulting designs promoted single family housing and village-like neighbourhoods. The planners made few provisions for mass car ownership.
The series starts with scenes from traditional city centres. While the original architecture is mostly preserved here, contemporary chains and smaller independent shops feature widely throughout. In the traditional residential neighbourhoods contemporary elements are rarer. The houses show the marks of their history. The photographs then transition to the more recent residential developments and finally over to newly-built city centres.
Over seven decades the economic climate fluctuated, political ideas changed and new social aspirations superseded the dreams of the previous generations. The contemporary New Towns show evidence of previous building styles and ideas of community.
Today, the New Towns preserve some of their initial character, but their identity is shifting in favour of more and more national and international elements.
Published with the support of the CNA Award â Supporting creation and publishing in photography, Centre national de lâaudiovisuel (CNA), Luxembourg.
ĂditĂ© avec le soutien de la Bourse CNA â Aide Ă la crĂ©ation et Ă la diffusion en photographie, Centre national de lâaudiovisuel (CNA), Luxembourg.
Hadrianâs Wall
Hadrian’s Wall (2018)
Hadrianâs Wall extended from coast to coast across the width of northern Britain. It ran from Wallsend in the east to Bowness on the Solway Firth in the west. Most likely Emperor Hadrian (ruled 117â138 ce) desired to preserve the Roman Empireâs integrity by supervising barbarian migration into the province of Britain and controlling customs. The exact motivation for building this frontier of the Empire have been lost in time.
Most parts of Hadrianâs wall have either disappeared or have become a tourist attraction, yet the archaic motivations for building borders stay intact and visible. Tribal thinking and the virtue of the herd, social inequalities and latent violence still leave their traces on the canvas of a nature completely indifferent to human enterprise.
It is a nice walk though.
Thirty-six Views of Mount Fuji
Thirty-six Views of Mount Fuji (2015-2016)
These photographs are inspired by the famous set of woodcuts âThirty-six Views of Mount Fujiâ Katsushika Hokusai produced between 1830 and 1832.
Despite the wide variety of shown scenes, most of Hokusaiâs colour prints share a common structure. In the foreground people are going about their daily business, the middle ground refers to a different time-scale like seasons or things decaying, and finally a glimpse of mount Fuji hints at changes too slow to be perceived during a human life.
Hokusaiâs woodcuts are part of a genre called ukiyo-e, which means âimages from a floating worldâ, floating both in time and in space. They are clearly composed in different layers, letting Mount Fuji hover above or next to the world of humans. Often civilisation intrudes graphically into Fujiâs sacred space. Trees or posts cut into the mountainâs silhouette, house roofs and other constructions imitate its triangular profile.
Hokusaiâs prints share several elements with photographs: they represent fleeting moments, they create a memory of simple events and peopleâs relationship with time is a major subject in the images. Just as photographs the prints are mechanically reproducible and they were affordable and not considered high-brow art.
This series is about time, about moments, seasons, years, lifetimes.
Published with the support of the CNA Award â Supporting creation and publishing in photography, Centre national de lâaudiovisuel (CNA), Luxembourg.
ĂditĂ© avec le soutien de la Bourse CNA â Aide Ă la crĂ©ation et Ă la diffusion en photographie, Centre national de lâaudiovisuel (CNA), Luxembourg.