South Kiosk’s presentation at Unseen Photo Fair contemplates the past, present and future through works that hint at archeology, documentation and speculation.
Entitled “Artefacts, evidence and dust”, Thorbjørn Andersen’s series of paintographs suggest an archaeological process. Painting onto large format slides which are then placed into a photographic enlarger, the dust, scratches and subtleties of his brushwork are magnified, offering a level of detail commonly associated with forensics, as the essence of the work becomes revealed in the final stage of developing. The resulting images appear to present abstract landscapes on macro scale.
Polly Tootal’s work considers the way in which abandoned industry mixes with functioning architecture and development, spaces left awaiting completion or areas of recent renewal. The modern British landscape is represented as rich with human activity, yet bereft of human presence. Obscured by a lack of context, yet strangely familiar, Tootal’s subjects are presented in such a way to highlight their eccentricities, focusing our gaze on the peculiar nature of their architecture and terrain.
The changing British landscape also features in the work of Felicity Hammond. Her sculptural-photo work, Bermuda Grass, borrows its name from an invasive weed, though its exoticism might attributed to that of a luxury interior palette, a contemporary bathroom suite, or an imported house plant. Hammond’s practice is concerned with the decaying British post-industrial landscape and the material language of urban regeneration. Bermuda Grass recalls the weeds that emerge from the cracks in the shifting post-industrial plane, whilst referring to the digitally warped visions of simulated vegetation that can be found in speculative images of opulent living.