Richard Allenby-Pratt

© Richard Allenby-Pratt

www.Allenby-Pratt.com

The Consumption project looks at landscapes in the United Arab Emirates that have been impacted upon by modern consumption habits. This may variously include the extraction and production of resources, processing of the same, manufacturing and construction, housing and property development, logistics, retail and ultimately waste management, disposal and reuse. Sometimes the exact nature of the land-use photographed remains mysterious.

The project also considers the way the ancient landscape itself is being steadily consumed, just like any other commodity.

The land of the UAE was essentially wild and almost entirely natural until very recently. Previously, its appearance had only altered on a geological and climatic timescale. Prior to the oil era, the occupiers of this harsh landscape considered it with a mostly critical eye; this was an environment that human life, in many ways, did battle with in order to survive. They had made their small marks on only a handful of areas along the coast, and where fresh water was naturally occurring or close to the desert surface.

In the last 50 years, and most particularly in the last 15, rampant development and exponential population growth have left few areas untouched. Everywhere you look, the landscape is being fundamentally altered and repurposed.

— Richard Allenby-Pratt, Dubai, United Arab Emirates

© Richard Allenby-Pratt

© Richard Allenby-Pratt3

Joshua Whitelaw

© Joshua Whitelaw

www.JoshuaWhitelaw.co.uk

Beginning almost by chance in the summertime of 2012, Barn Elms observes a specific open space and recreational ground in South West London, which has been under continuous redevelopment by the local council there since early that year. In an attempt to document many of the features that were suddenly disappearing, as the landscape constantly changes, the series not only looks at the visual potential produced as a result of these human influences, but also those brought about by the natural elements and the changing seasons over the course of a year. On a basic level, Barn Elms is a portrait of a place, celebrating its details, textures and richness.

— Joshua Whitelaw, London

© Joshua Whitelaw

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

Daniel Bushaway

JUN 28 Daniel Bushaway

www.DanielBushaway.com.au

Still Places is an observation of human scale within nature, in stark contrast to the manicured vistas of city life.

This series represents my two-year journey into residential rural Victoria and explores a personal interplay with the landscape that surrounds the remote location of Moonee Creek Cooperative, Lima East. I take inspiration from communities that live harmoniously with nature and connected to the land – “off-the-grid” so to speak.

Creating this body of work has enabled me to undertake a journey into isolation, stillness and ultimately my rural utopian dreams.

— Daniel Bushaway, Melbourne, Australia

© Daniel Bushaway

© Daniel Bushaway3

Fabrizio Albertini

© Fabrizio Albertini

www.FabrizioAlbertini.com

Genius Loci Vol.1 is an autobiographic statement. It is a daily journey that was born as much from the will of maturing as a photographer as from the necessity of facing a long convalescence. Each snapshot is the destination of a travel at your fingertips, a trip that was almost always an Italian one, in which, with selective and precise criteria, I was looking for the presence of color, composition and light. Realized between the summers of 2012 and 2013, Genius Loci Vol.1 walks the spectator through a few recurring paths: Milan, the water, the vegetation, the animals, the non-place, the Virgin Mary. They are all pacific environments, reassuring in a certain way, and in which I’ve always searched for order of things.

The location choice was rather accidental. Often I just happened to find a space that I liked and I waited and waited, until something, just about anything, would appear and complete it.

— Fabrizio Albertini, Lake Maggiore, Italy

© Fabrizio Albertini

© Fabrizio Albertini3

Peter Hoffman

© Peter Hoffman

www.PeterGHoffman.com

Again and Again is a book project photographed from January to April of 2012 in Christchurch, New Zealand. The book takes viewers on a wandering path exploring the neighborhoods and encountering the people of Christchurch. At the time, the area is still encountering near-daily tremors a year after a significant earthquake and severe aftershocks destroyed much of the central city and numerous homes in the coastal suburbs.

I lived in Christchurch for about half of 2004, and my favorite spot to watch the sun rise, a cliff top spot in a suburb called Sumner, fell into the sea with the earthquakes. The beauty of the spot never left me and I had dreamed of one day going back with family and loved ones to show them the spot, but it’s not there anymore.

The resulting project is a study that was born out of a desire to explore the impermanence of place and how we cope with, or are affected by constant change and uncertainty. Christchurch is well known by its nickname “The Garden City,” and although there wasn’t much infrastructure being rebuilt yet when I was there, the land had already started to sprout anew in both new and expected places.

— Peter Hoffman, Chicago, Illinois, USA

© Peter Hoffman

© Peter Hoffman3

Joshua Edwards

© Joshua Edwards

www.ArchitectureForTravelers.org

In November and December of 2013, having just returned to the States from a year in Germany, with time on my hands and without a job or anywhere to call home, I walked 1,000 kilometers from my birthplace of Galveston Island to the West Texas town of Marfa, where my wife Lynn and I are building our own home and finally settling down after many years of moving around.

During the walk I took one photograph each hour. The first image is of the building that stands in the place of the hospital where I was born and the last, taken in the morning light the day after I reached town, is of the property on West Galveston Street in Marfa where Lynn and I will live. I’m primarily a poet, and usually, as with this project, I employ photography as a visual notebook.

— Joshua Edwards, Marfa, Texas, USA

© Joshua Edwards

© Joshua Edwards3

Gaetano Paraggio

© Gaetano Paraggio

www.GaetanoParaggio.com

I am attracted to places of everyday living: normal places, seen (or rather not seen ) — just passing through. Places that leave no trace on the retina of people, as if they were invisible.

I love walking along suburban streets or in industrial areas, laying my eyes on the abandoned factories. The mind relaxes and thinks freely. Watching all this from the viewfinder of the camera brings to life timeless places, denounces the deterioration from the “land without men,” the remoteness of the institutions, the grip of a crisis incomprehensible — how painful and cynical.

My research is about beauty. I like to photograph the city, looking for a symbiosis between me and the loneliness of spaces I do not know.

— Gaetano Paraggio, Bellizzi, Salerno, Italy

© Gaetano Paraggio

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Alexander Pisarev

© Alexander Pisarev

www.AlexanderPisarev.com

From the very beginning of the human race, people have been expecting the end of our world. It’s a paradox, but in the last two centuries, in spite of scientific and technological advance, or due to it, there were made more apocalyptic predictions than there had ever been made before.

2012 passed in expectation of calamity predicted by the Mayas.

This project aims to inquire into how our perception of objective reality will alter in the face of factual or imaginary apocalypse. Ordinary walks through the hometown become the quest for signs and warnings of upcoming disaster. Familiar landscapes and situations look weird and dream-like, although nothing terrifying is happening — or is it all just freak of the imagination?

— Alexander Pisarev, Moscow, Russia

© Alexander Pisarev

© Alexander Pisarev3

Marc Llach

© Marc Llach

www.MarcLlachFotografia.com

At Minimum wants to explore and analyse the aesthetic of the industrial suburbs located around our cities, because these contemporary landscapes built by our society can be a revelatory proof of its moral courage. In the aesthetic of these desolated environments we can watch the ferocious control, the power and the influence that the modern society applies on its closest surroundings, in general, and on the human being, in particular.

This situation turns into spaces that float in a one existentialist lethargy. They are defined by a monotonous aesthetic with childish tones, homogenous textures, inorganic nature and unmoving geometry. And, one of the most important things, it is the fact of representing a one-sided break with natural space and its rules. Here, the environment is manipulated and deformed by the way the human being wants and being a self- caricatured. We can say that its identity becomes minimum, project itself like a poor reflex of the cities that they have seen it growing.

— Marc Llach, Girona, Spain

© Marc Llach

© Marc Llach3

Evan Deuitch

© Evan Deuitch

www.EvanDeuitch.com

So much of the nocturnal landscape is dominated by narrow, pre-determined areas of light that have been set up for practical reasons. After numerous walks home from either work or school, it became apparent that most of the visual characteristics of the suburban nighttime were determined by traffic lights, signage illumination, and security lights, among others. In these circumstances, subjects that would otherwise seem banal during the daytime became seemingly more dramatic and almost theatrical because of the selective illumination.

The images that I produced for this series were all captured from current and previous neighborhoods I have lived in. While photographing, the difference between each individual location became unnoticeable, as the points of illumination were often sparse, and its subjects were consistent. The resulting images depict concentrated oases of visibility among a universal dark void.

— Evan Deuitch, State College, Pennsylvania, USA

© Evan Deuitch

© Evan Deuitch3