‘’Leave’’ is a representative word.
Things occurred, conversion is effected,
However, it is only a change in the form.
Still there, essentially.
Found the sense of security here which was lost for so many years in the past.
But lost my sense of belonging at the same time.
Nothing is forever.
Everything is permanent.
— Hsiang-Lin Wang, New York
I find the edgeland fascinating. I am fascinated by the suburban area around a town that is not really town any more but also is not considered as nature. In Europe there is no untouched nature to be found any more. But some areas give you the illusion of an untouched area especially when the photographer tries to let the traces of man outside the frame. In this way the edgeland is much more honest to me. You cannot ignore the man-altered landscape and the edgeland does not want to be a spectacular beauty. It is more a subtle beauty. You can find man-made structures here that can complete the fragments of nature to an exciting image with rhythm and structure.
With my bicycle I cycle around the inner city of Münster through suburbs and the city near landscape. With my camera I try to create another picture of my hometown not dominated by the popular sights and places of interest.
– Gerrit Elshof, Münster, Germany
Third Nature consists of a series of images exploring a continued reflection on the constructed nature of the landscape, viewed in terms of contemporary spaces of recreation, commerce and suburban life.
The collective consequences of globalization, reflected in the contemporary sublime, and expressed as the terror we have created ourselves, forms the basis of this long term project.
— Vincent Bezuidenhout, Cape Town, South Africa
These photographs, from a series titled Thirty-Six Views of Mount Fuji, are inspired by Katsushika Hokusai’s famous set of woodcuts of the same name.
Hokusai’s woodcuts are part of a genre called ukiyo-e, which means “images from a floating world.” They are clearly composed in different layers, letting Mount Fuji hover above or next to the world of humans.
Often civilisation intrudes graphically into Fuji’s sacred space. Trees or posts cut into the mountain’s silhouette, house roofs and other constructions imitate its triangular profile.
Hokusai’s prints share several elements with photographs: they represent fleeting moments while including indices of seasons, they create a memory of simple events and people’s relationship with time is a major subject in the images.
This series is about time, moments, seasons, years, lifetimes.
— Raoul Ries, London
These images are from my project called Vistas — views from a few Superfund and brownfield sites in Western New York, not far from my home. These three images were made at the Albion MGP Superfund Site near the Erie Canal, in Albion, New York. They were taken on June 28, 2016.
Superfund – CERCLA is the Comprehensive Environmental Response, Compensation, and Liability Act of 1980. Initially the fund was financed with a tax on the petroleum and chemical industries, but since 2001 funding has come from U.S. taxpayers.
I started this project because I wanted to get to know my neighborhood a little bit better.
— Robert Doyle, Perry, New York, USA
I have been a fine art photographer for most of my adult life. For me, camerawork is like a meditation. It is how I organize and understand reality. It is a moment of poetry, without the constraints of language. There is an instant when the barrier between the observed and the observer, between inside and outside, disappears. At that threshold, there is absolute continuity. If a day goes by without at least one such moment of clarity and coherence, I feel I have missed something essential to my wellbeing.
Those of us who create landscape images, as well as those who enjoy looking at them, are all burdened to an extent by the historical, cultural and aesthetic norms the genre has evolved since the beginning of photography. Our view of landscape is inextricably bound to notions of “frontier” and “wilderness” that obtain from the geological surveys of the West in the 19th century, as well as to the panoramic vistas of more modern conservationist practitioners such as Ansel Adams. Such imagery, though “true,” and indeed beautiful, does not really exist, and at which subjects very few of us have ever looked.
We are surrounded by landscapes, both natural and constructed. We tend to block out those aspects of our living landscape that are merely utilitarian or vacant. But I have been, and continue to be, interested in just such places and in the constructed landscape more generally. My field of activity is the western USA. I am compelled by the sweeping emptiness of the west, punctuated here and there by suburban expansion, as well as the remnants of failed efforts to colonize. There is at work a very personal element of memory at work. There is a sense of passing — of time, of identity, of meaning. I enjoy looking at the overlooked. I am inevitably drawn to the places that are manifestly not “picturesque” as these places resonate with memory and loss.
— Randal Barbera, Colorado Springs, Colorado, USA
When I was younger, I worked overly-complicated projects. My thesis dealt with chaos theory and was criticized as being a mathematical Waiting for Godot. Now I look at simpler things. I am inspired by color field painters, and surrealists as much as landscape photos and paintings. I’ve had a lot of trouble sleeping and my dreams and reality are still separate but by a lesser degree than they used to be. I only develop film about once a month and sometimes I see negatives I have only vague memories of shooting and there’s almost no difference between the memory of making the picture and a dream. To me it’s more about the feel of the shapes and the forms than what the actual content is. I think the pictures are uniquely Midwestern but that is by coincidence not intention. When I’m driving around the suburbs of Toledo, Ohio I see a lot of construction. It’s hard to pinpoint exactly how but for me the construction sites have something to do with the sense of isolation of the suburbs, the idea that they are in a constant state of expansion is for me disheartening.
— John Walz, Toledo, Ohio
On November 19, 2010, I created New Landscape Photography. A lot has changed since then. I have gone from publishing one image by each artist to featuring three, which I think gives a much fuller introduction to the work. I continue to ask artists to share statements. The blog has become an archive of over 500 statements — and of course, hundreds more images.
I recently decided to invite artists to resubmit work a year after they’ve been featured on the blog. There are many people whose work I published four or five years ago who are now on to new and interesting projects.
In addition to the blog, I created a Facebook group of the same name. It now has almost 2,800 members and is a lively forum for sharing work and ideas.
I’ve always enjoyed the blog’s international flavor, but I am starting a local photography project: to document the billion-dollar renovation in Syracuse of Interstate 81, one of our central highways. This is a group project and is online at Picture81.org. We will share work on Facebook as we develop our individual projects. Later we will approach local galleries and museums about exhibiting the pictures.
This blog would not be possible without the participation of hundreds of artists. Thank you so much! Your enthusiasm and images have lifted my spirits for six years and I hope that will continue for at least another six — in some format or other.
— Willson Cummer, Syracuse, New York
Temporary still lifes
At construction sites in Europe on Sundays, I caught a wonderful art
Everything is constantly changing — between chaos and order,
building, demolition, rebuilding — but there are always moments in
process which exhibit some kind of momentum, perfection
and calmness — moments of rest and a certain romantic presence
between the continuously inexorable changes.
— Ben Gowertt, Muenster, Germany
The photobook Abrasion/Sedimentation deals with the construction of place through perceiving geological and semantic layers. The book itself utilizes the process of layering to presage a structural transparency of apparently obvious information. It describes a place and asks the question of its identity and identifiability.
Image and text layer are separated seemingly formal, but penetrate and layer each other associatively. Both layers are beyond the concrete and narrative. They lure the viewer with fragments and snippets, pretend a whole. However, this whole thing is always the product of the individual constructing capacity of the viewer.
Whether the land exists and where it is located is of little relevance. Text and image are abstracted and yet not without detail, thematic focus and realism. Landscape is visible and the attempt to recognize and decipher it is readable.
— Marcus Held, Leipzig, Germany