Strongly rooted in place, Joachim Sefzick’s atmospheric photographs are meditations on the aftereffects of unfettered growth. Highlighting seemingly banal landscapes and unremarkable corners of urban life, his work is occasionally compared to Michael Wolf, whose photographs of Hong Kong’s “architecture of density” portray the monotony of rapid development. Sefzick is drawn to post-recession Europe—its highways and government housing, abandoned villages and roadsides. In his early work Florian, Sefzick detailed the minor variations among identical low-income houses, while in Requiem he documented abandoned German villages. His eye seeks that which is, in his words, “forgotten or about to be forgotten.” More recently, he has experimented with time and space within a single image, superimposing photographs of buildings taken from multiple perspectives on one another and building long, glowing light boxes that contain images of desolate highways taken from a slow-moving car.