Within the Anthropocene topic, I studying many different artists work to get an in-depth understanding of the different perspectives and opinions on these geographic and environmentally-concerned approaches. This consisted of the work of Ansel Adams, Edward Burtynsky, George Marazakis, Joe Deal and Bernd and Hilla Becher. By studying through their great compilations of research and images of the nature of the Anthropocene, I was enabled to find my own ideas on how to represent this issue. However, my work was especially inspired by the work of George Marazakis in ‘A Cure for Anthropocene’ alongside Bernd and Hilla Becher within their work on Typologies, investigating an industrial environment. Not only did these artists intrigue me, but I really enjoyed the way that they both look at Anthropocene from entirely different perspectives – George Marazakis looking at desolation and decay whilst Bernd and Hilla Becher document the fast paced urbanization stemming from industrialisation.

GEORGE MARAZAKIS:

As one of my first artist references, I came across George Marazakis and selected him specifically based on the nature of this derelict greenhouse. I felt that this was an extremely great representation of how it isn’t just the compacted cities receiving backlash from climate degradation, it’s also these rural areas which are scarce, forgotten about and become consumed by nature warping around the structure, mostly due to society progressing through the years at such a fast rate that the area/ structure is no longer needed yet still leaves a mark and impact on the environment around it, restricting growth and areas for ecosystems to thrive in. I also selected this as one of my main references within my work because I felt that the muted colour scheme showed the death and decay that the world is under, however remains unnoticed and ghostly.

This was my first attempt at the recreation of his image, my initial plan was to use artificial lighting alongside coloured gels to idolise the sunset in George Marazakis image, shining through the greenhouse and outlining the desolation from within – plants twisting and winding alongside the stains from dirt wiped down the windows. However, this didn’t particularly go to plan due to the light not being as great and powerful as the one George Marazkis used.

However:

In light of my initial image not working, I decided to take this idea of derelict greenhouses and move towards taking images of those which had appeared more violent in contrast with George Marazakis image:

Whilst these were relatively different from George Marazakis work, I still feel that there is a correlation between them through the untended growth of weeds, sand and dirt. I also feel this still has a correlational aspect through the areas which involve decay, whether that be through the streaks painted across what is left of the greenhouse or in the dried up patches of dirt smeared across the ground, a likely area where chemicals have been placed and cause the refusal of seeds growing there. If I were to use George Marazkis’ work again within this project, I would have liked to have potentially found an alternative way to recreate his sunset-reflection of the greenhouse if I were able to find an appropriate location which was more similar to his. Alongside this, I would have liked to incorporate some of his other images in areas such as the sand dunes as I feel that these could’ve provided greater representation of how climate degradation impacts rural, countryside locations and not just urban areas. Whilst Marazakis’ image is muted and ominous, mine has reacted in a more violent and aggressive way, however I feel that this may represent the anger many people feel about approaching a point that could result in practical ‘self-extermination’.

From this, I was able to explore the idea of desolation impacting the environment within the Anthropocene through the topic of abandoned structures, forced to be home to an overgrowing population of plants due to them being restricted from growing naturally because of the unused and ignored nature of the structure:

BERND AND HILLA BECHER:

In an early introduction to landscape photography, I looked into Bernd and Hilla Becher’s work on Typologies, documenting the industrialised structures to address the effect of the industry on the economy and the environment. When we moved towards Anthropocene, I wanted to include aspects of their work into my images because through the anonymity and use of dead-pan shooting, I felt that this was a stern message about the fast pace at which society progresses, producing more and more materials by using harmful chemicals and techniques.

I feel that there is a strong correlation between my work with Bechers’ due to the strong industrial tone set throughout. Whilst I didn’t use the deadpan approach like their work, I still feel that this as worked very well due to the angles from a distance, below, and in-line with these industrial structures as it made the natural hit off of the metal in the perfect angle for me to capture it with a glowing effect following along the building. I created virtual copies of them in colour alongside a monochrome format so that not only was this burst of light and colour more visible but they still were established with the black and white aesthetic that Bernd and Hilla Becher used within their typologies. In future if I had ever used Bechers’ typologies again, I would have liked to be able to get some deadpan images of the act of industrialisation because I feel that these would have been a more minimalistic approach to Anthropocene that could have been really powerful. Through this, I then had the ability to represent the dynamic which society progresses and how this constant deconstruction and reconstruction of areas has severe impacts on the planet.

Overall:

Overall, I am really happy with the artists references I chose and the images in which I selected as inspiration as not only did they help me to produce images that followed the Anthropocene in a thoughtful way, but they also enabled me to come up with ideas of my own and develop them – for example, my initial ideology behind using George Marazakis’ image didn’t work how I intended, however this led me onto shooting greenhouses from a contrasting perspective as well as investigating abandoned buildings and structures around the island.