© Luca Moretti


The project Versilaina originates from the observation of the landscape near the place where I live, a close exploration of more or less familiar places. Walking is the essential instrument for this process, as a primary symbolic action aimed at transforming the space surrounding us; walking as an esthetic practice as well as a possibility of establishing new relationships with the landscape around us.

— Luca Moretti, Pisa, Italy

© Luca Moretti

© Luca Moretti3

© Pessons Vest


These images are from a series of photographs of Denge, the swamped site of the poignant ruins of three concrete ears used to detect aircraft for a few months in 1932, until radar and gravel extraction left them to drown. It is part of the larger sparsely populated and hyper-fertile Romney Marsh, which harbours a discordant smattering of sonic, nautical, aeronautical, industrial, logistical, military, botanical, and inexplicable relics and activities.

— Pessons Vest, Brighton, England

© Pessons Vest

© Pessons Vest3

© Andrew Frost


Two years ago, I found myself living in the middle of Bergen County and struggling to make sense of it.

Bergen County is the most populous county in New Jersey, the most densely-populated state in the United States. Located in the northeastern corner of the state, Bergen County is part of the New York City Metropolitan Area (unless you’re a New Yorker), and is situated directly across the George Washington Bridge from Manhattan.

It’s a strange place — the county has the strictest blue laws in the country (all non-essential commerce is banned on Sunday), no one uses their turn signals, and most people commute into New York City. Bergen county is home to the town of Paramus, the largest shopping destination in the country. Paramus’ zip code (07652) generates over five billion dollars in annual retail sales, even though all of the stores are closed on Sunday.

— Andrew Frost, Teaneck, New Jersey, USA

© Andrew Frost

© Andrew Frost3

© Roberto Bianchi


The T7 line connects Villejuif to Athis Mons and carries about 30,000 people a day. The French landscape that flows beyond the windows marks the daily life of its people and determines its rhythm.

The succession of images during the route create a constantly moving urban landscape, whose outlines are not well defined.

Our sight — and therefore the camera — captures everything that appears in front of us without the time to provide a selection. It’s not the aesthetic beauty of the place that moves us, rather it’s the several sets that appear and disappear by simply leaving elusive, yet recognizable tracks — since they belong to our visual and mental knowledge.

Roads, parking lots, malls, offices, hotels, work and leisure places impose themselves in what seems at first an insignificant scene, giving life to a sort of game in which one tries to put together the several visual pieces of a story that repeats itself but which constantly changes at the same time.

— Roberto Bianchi, Sanremo, Italy

© Roberto Bianchi

© Roberto Bianchi3

© Monica Ortega


For me every river is more than just one river. Every rock is more than just one rock.

It is a fact that a realtor looks across an open field and sees comfortable homes, while a farmer sees endless rows of wheat and a hunter sees a prey unaware of his presence. The open field is the same physical thing, but it carries multiple symbolic meanings that come from the values by which people define themselves.

For this reason, my work is an exploration of the landscape as the symbolic environment created by a human act of conferring meaning on nature. My attention is directed to transformation of the physical environment into landscapes that reflect people’s definitions of themselves and how these landscapes are reconstructed in response to people’s changing definitions of themselves.

Espacio Disponible focuses on the transformation of the physical environment into man-altered landscapes and how these landscapes define our culture and lifestyle. I consider that our understanding of nature and of human relationships with the environment are really cultural expressions used to define who we were, who we are and who we hope to be at this place and in this space. Landscapes are the reflection of these cultural identities which are about us, rather than the natural environment.

— Mónica Ortega, Murcia, Spain

© Monica Ortega

© Monica Ortega3

© Maxwell Ross


All of these pictures were taken within two miles of my suburban home in Evanston, Illinois. Evanston and other nearby suburbs are often used as a backdrop in popular films, notably John Hughes’s movies, to represent typical American life.  Our mental representations of American suburbs are tied to our ideas of safety, conformity, and quality of life.  It’s not my intention to change these notions, but to explore and complicate their contours through pictures.  

— Maxwell Ross, Evanston, Illinois, USA

© Maxwell Ross

© Maxwell Ross3

© Agustin David


The nature elements and its processes are the starting subject of my photographic work. I dive into the relationship of Human to Nature, the modern subject-object binomial and the physical absence of the human element in the searching of the resonance that emptiness produce are some of the characteristics of my photography. 

I like the artisan character, intense and serene rhythm imposed by analogue photography and the medium and large format cameras . A state of full consciousness as to what the “photographic moment ” means. The physical-chemical film and handling characteristics are an important part, too, in the production process of my photographs.

— Agustín David, Alicante, Spain

© Agustin David

© Agustin David3

© Leticia Batty


“A town like Sheffield assumes a kind of sinister magnificence.” – George Orwell

Sheffield is a town with its identity forged from its industrial past. This project stands as a testimony to this; an account of the defining structural elements that shape a city. In this series the pragmatic yet intimate nature of the images project the effect of the grind of industry over the city of Sheffield.

— Leticia Batty, London

© Leticia Batty

© Leticia Batty3

© Millee Tibbs


I am interested in surfaces and their relationship to what lies beneath – the discrepancy between what we see and what we know. I am drawn to photography because of its ubiquitous presence in our culture and its duplicitous existence as both an indexical representation of reality and a subjective construction of it. It is a slippery medium that easily shifts from scientific documentation of a moment in time to a subjective construction of reality. I am interested in the space where these qualities contradict each other and coexist simultaneously.        
My current work focuses on the dichotomy between “landscape” (an intangible vista) and “place” (a tactile, inhabitable space). I am interested in the aesthetic framing of the landscape of the American West that perpetuates expansionist ideologies through the representation of unoccupied, and seemingly unoccupiable spaces. By disrupting the photographic image through physical interventions (folding, cutting, and sewing), my work responds to the limitations of the photographic illusion. Each image holds the tension between the expansive, inaccessible vista and the intimate, tactile experience of the photo-object.

— Millee Tibbs, Detroit, Michigan, USA

© Millee Tibbs

© Millee Tibbs3

© Fernando Brito


The MAP 454 project was designed based on the hypothesis that photography produce micro stories that can provide readings on global phenomena, including a critical reading of the idea of the contemporary landscape.

The initial premise was that within the limits of topographic map 454 of the Cartographic Army Services it would be possible to identify sites with specific geographical features which had in common the possibility of a reflection and a look at the phenomena of land occupation, urban sprawl and the resulting consequences on the landscape.
That map is bordered to the north by the A2 motorway, to the west by the village of Quinta do Conde and other neighboring localities, to the east the area between Palmela and Setúbal and to the south by the Serra da Arrábida.

From this initial idea, the MAP 454, I have so far produced three works: AUGI 12 ( 2012) which focuses on one of the existing illegal settlements in the area, The Moor – Várzea ( 2012/2013 ) a reflection that aims to highlight the relations between rural and urban world in the floodplain of Setúbal and Suburban Gardens – Nas Hortas (2013/2014), which deals with the phenomenon of suburban gardens and its impact on the landscape.

— Fernando Brito, Vila Fresca Azeitão, Portugal

© Fernando Brito

Domingo 3 001

© Claudio Parentela


It is strange to think when you don’t want to think at all. This happens every time when I’m alone, when I’m inside myself with me and only with me… but I create thinking without thinking about what I do, lulled by the colors of the music in me, out of me, around me.

I love this song “Jessica” and the voice of Kaki King. It’s perfect, and in perfect harmony with the colours, with the photos, with the sheets of paper, with the scissors and the glue. It’s delicate and strong. My knots that melt into a black lake of rage and love… the seasons are too short and too long and I don’t have enough sheets to draw them.

— Claudio Parentela, Catanzaro, Italy

© Claudio Parentela

© Claudio Parentela

© Carlo Massarutto


The Milan area at the time of the expo.

This project comes from the observation of the towns that are lived only as dormitories. There are spaces created for entertainment and leisure, children’s playground and soccer fields. The absence of users makes these spaces ghostly, vacuum.

During the week, people move to the big city, Milan, emptying the small towns in the hinterland, where space is filled with palaces and buildings that stand out on the fields. The sense of abandonment of certain areas and the neglect of its people gives these places a post-apocalyptic look, where the values of the company are evident and oriented consumerism.

— Carlo Massarutto, Milan, Italy

© Carlo Massarutto

© Carlo Massarutto3

© Denis Guzzo


My work researches the Anthropocene, traces and perspectives of our civilization; it encloses the correlation between photography and the built environment and between research and documentary practices. My projects are outlining human geography, environmental and geo-political themes. In human geography, the idea of meaning has been central to the notion of place since the 1970s. More importantly, it finds its roots in the Roman concept of Genius Loci, the spirit of the place, and previously in Aristotle and Plato. I often refer to these ancient notions to investigate the labyrinth of observations that we are used to call geography and history.

Photography is an autonomous language that has given us the power to get to the surface of meanings. Like this text you are reading, photography has the ability to travel space and time as a polyhedral archaeology of human ideas¹. Photographs are not what we see, but they are anything else what we can understand from them. So I like to think that images are some kind of abstract space; a hyper-surface where every act of perception is an act of creation.

My approach focuses primarily on the combination of facts before coming to the composition and other aesthetics. Sometimes I cross the field of visual-audiovisual arts with the use of cartography; but my favorite instrument remains my large format view camera. The amount of research and time that I take to explore and document those places has nothing to do with the rush of today’s consumption of images. This introduces also the ethical question regarding how or why a photograph is being taken, used, presented and how reliable its content is.

My work is avoiding the traditional photo series that act as registration and repetition of a specific subject. Contrarily, and probably also as a result of my mixed background, they are based on a multiplicity of landscape perceptions². I use the bi-dimensional medium of photography to challenge the space through a spatial analysis. This becomes more evident in my exhibitions and installations, characterized by a meticulously detailed form of storytelling.

Photography represents to me an act of exploration that allows me to create a real-time spatial and cultural reflexivity on the planetary boundaries. I want to change the story while it is being told; trying to use photography not only as a form of art but also as an act of activism.

Landscape talks its own language; through the seasons and the elements that we perceive in space and time.

— Denis Guzzo, Amsterdam, Netherlands

[1] polyhedral archaeology of human ideas: is a definition created by Denis Guzzo that also refers to the investigation of space and natural elements initiated by Plato with the Platonic Solids.
[2] multiplicity of landscape perceptions: this definition was created by Denis Guzzo and was the title of his graduation thesis in 2010.

© Denis Guzzo

© Denis Guzzo

© Barbara and Ale


The topics we deal with (abandonment, loneliness, construction, renewal, silence, etc.) are common emotions and feelings. We invite the viewers to imagine what, who, where, and when something happened.

It is like telling the emotion of a trip, but showing only the central stage; by removing part of the information gathered on the way, we shape something similar to a forgotten slide, lost by a distant relative, not knowing by whom it was taken, where or when.
— Barbara and Ale, Milan, Italy

© Barbara and Ale

© Barbara and Ale3

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Making It Home is a series of photographs shot between 2014 and 2015 that explores the re-settlement of 11 Irish ex-servicemen to Cleenish Island, County Fermanagh, Northern Ireland. Began during the Centenary of World War One the project explores the story and legacy of this unique part of the post war re-housing scheme developed under the Irish Land (Provision for Soldiers and Sailors) Act 1919. Inspired by the postwar regeneration drive in Britain the idea of “homes fit for heroes” became the guiding force in what became an Anglo-Irish project to house and grant land to eligible Irish Ex-Servicemen who fought in the war.
Cleenish Island itself was a curious site to build these homes, given that there was no access except via boat. Combined with the fact that of the eleven men granted homes many were suffering from either mental or physical injuries from the war and had little or no experience of farming, it is not surprising that many of the men found life on Cleenish very difficult, and looked to build a life somewhere less isolated only a few years into their tenancy. By the time a bridge was built in 1956 only one man remained on the island — named Johnny Balfour. The fate of the rest was unknown until recently. Upon walking the island today only Johnny Balfour’s home, which is still inhabited by his son and daughter, remains intact. The other 10 homes are largely in a state of complete disrepair or completely demolished, leaving today only ruins of these former soldiers’ homes. 
By connecting to a site such as Cleenish Island to the war crossed men that once lived here we indelibly link the site to this time in history and place it amongst the long list of sites bearing stories from the aftermath of conflict. The landscape and remaining soldiers’ houses of Cleenish Island now serve as a biographer to this time, allowing us to place a specific site to each man so that we may remember them and their continued struggle to survive, and re-build their lives after making it home. 

— Mark Rhead, London

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