9. 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.” 

― From 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.


― From Italo Calvino, Invisible Cities






Mark