Open Spaces expels the overt fixation with
the ‘other’ from documentary photography, whilst allowing a degree of
our voyeuristic delight to remain intact. In the silence of such
absenteeism an ‘architecture of time’ presents itself, where the
weathering of unseen and unimportant histories descend into ever finer
states of nothingness. In a sense, the spaces photographed, the
photographs themselves and their embedded meaning all remain
open-ended, enshrouded by uncertainty, and not unlike the evolutionary
paradigm in which all phenomena is suspended, exist in a constant state
of becoming that which has not yet been.
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