THE DRIFT
Process
Camera | Film | Location X2 |
35mm Double Exposures
Walking
between locations. Images physically meshed together in one image. Images out
of alignment, overlapped, double exposed. Carefully considered locations; The
General Cemetery and City Centre re-developments. Old, decaying urban
infrastructure and spanking new student flat complexes. The city in the dead of
night and the city centre river Don in the sunshine.Walking. Journeys. Maps. The path of least resistance.
“He reached the
foot of the embankment, and waved with one arm, shouting at the few cars moving
along the westbound carriageway. None of the drivers could see him, let alone
hear his dry-throated croak, and Maitland stopped, conserving his strength. He
tried to climb the embankment, but within a few steps collapsed in a heap on
the muddy slope.
Deliberately, he turned his back to the motorway and for the first time
began to inspect the island.
'Maitland, poor man, you're marooned here like Crusoe – If you don't
look out you'll be beached here for ever...'
He had spoken no more than the truth. This patch of abandoned ground
left over at the junction of three motorway routes was literally a deserted
island. Angry with himself, Maitland lifted the crutch to strike this
meaningless soil.”
J.G. Ballard, Concrete Island.
“With cities,
it is as with dreams: everything imaginable can be dreamed, but even the most
unexpected dream is a rebus that conceals a desire or, its reverse, a fear.
Cities, like dreams, are made of desires and fears, even if the thread of their
discourse is secret, their rules are absurd, their perspectives deceitful, and
everything conceals something else.”
Italo Calvino, Invisible Cities.
