Taken over a month-long journey, the photographs are a visual engagement with the immediate surroundings, noticing subtle moments in the ordinary. Observing traces of everyday life, the camera’s frame was used as a tool to record happenstances. Led by accidental arrangements left behind by the passer-by it becomes an interaction with a stranger and reflects ephemeral moments of chance encounters.
— Christina Evans, Winchester, England
I am drawn to working on environmental photo stories. What fascinates me the most is the interaction between humans and the wilderness, and how extreme the care for the wilderness can vary between people from the mentality of nurture and bestowing love and care to treating any open space, as long as no one can see you, as a potential for abandoning items one no longer needs. It is this contrast that informs the totality of my work.
This particular project focuses on the sad truth that for some, the wilderness is a convenient place to throw out, discard, leave behind whatever they need to get rid of. That is the story behind Basura – Southwest USA, a most breath-taking area, where unfortunately the eye gets jolted repeatedly by left-behind trash. This is a world-wide phenomena and I continue to photograph other regions I am privileged to travel to.
— Christina Lange, Salton City, California, USA
Using the NASA map of the world at night as a guide, over the last five years I have photographed the man-made light emanating from 45 cities in the three brightest regions in the world. Lux focuses on cities in the United States, Western Europe and Japan. These economically- and politically-powerful regions not only have the greatest impact on the night sky but this brightness reflects a dominant cumulative impact on the planet.
For most of human history, man-made light has signified hope and progress within local and global arenas. In this project, light also paradoxically denotes regression or transgression — an index of the complex negative human impacts on the health and future of the planet.
— Christina Seely