I am primarily interested in documenting the everyday world around me, with a particular interest in landscapes featuring human interventions that visually activate their surroundings in strangely compelling ways. I am drawn to spaces that convey surreal or fictitious narratives, fortuitously photogenic environments that I try to carefully document rather than photographically exaggerate. Some of my work also explores the notion of place in the context of my dual citizenship of Australia and the UK. Often my Australian landscapes are shot under the soft light of overcast days, conditions more in keeping with my younger days in England – the muted tones portray an evenly balanced sense of place: an Australian scene with an “English” sky. Occasionally I will throw all of the above out of the window and experiment with something new.
— Chris Round, Sydney, Australia
Once Upon a Time on the Island of the Minotaur
Crete’s strategic location exposed the island to siege and piracy continuously during the centuries. This fact pushed local people to the mountainous interior of the island to protect themselves from the pirates’ assaults across the seaside.
More or less until the 1970’s, when tourism appeared here, the Cretans’ character, life and customs were much more related to the mountains rather than the sea. These photos are a kind of observation at the dyadic nature of the Minotaur’s island, this key-shaped mountain that was planted in the Mediterranean sea.
— Charalampos Kydonakis, Rethymnon, Crete, Greece
Welcome Guests is a series that I made between 2012 and 2013, which were the years that I lived in America for the first and the second time.
It’s a collection of pictures I took around the United States: documents and letters that I found and things that were given to me and I always had while I was traveling, such as a picture of Death Valley in California and a note that reminded me that I was really far away from home — or its concept.
It was mostly a way for me to play with photography, while I was working on my series Something is Missing, using an iPhone, 35mm cameras and a digital one. I was trying to work on feelings and emotions related to the instability of the act of always moving and the chaos of unsettled situations.
The experience you are suppose to have with these series is a sense of confusion and dislocation, through a representation of mundane and banal actions and experiences: there is a picture of a man cutting the grass, people who walks their dogs, a picture of a cup of coffee, one of a diner, a scanning of a picture of a typical American family house.
— Eleonora Agostini, Venice, Italy
Between June 2006 and June 2012 I returned to live in Gran Canaria, in the Canary Islands, where I had spent my childhood. I found myself living in the Medianías, an area with ancient agricultural tradition and where part of my upbringing took place. Each farmland had at least one pond or reservoir to capture rainwater for irrigation. Most of them are now obsolete, abandoned and highly dilapidated by the passage of time, bacterial action and weather conditions.
From the outside they are just ugly, functionally built structures. But peer inside and you will find these hidden landscapes: locked up lakes, frozen fjords, jungles, fortresses, meadows, forests… breathtaking beauty concealed to all behind their rough outer shell. A contained territory within another territory.
To me they are imaginary lands, psychological landscapes, projections and reflections of my own state of mind.
— Marisa Culatto, Hertford, United Kingdom