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Claire Keane
let's talk about Bridgerton tea, my ask is open
Product Placement
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The Bowery Presents
gracie abrams
★
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Mike Driver
PUT YOUR BEARD IN MY MOUTH
EXPECTATIONS
d e v o n
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art blog(derogatory)
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Aqua Utopia｜海の底で記憶を紡ぐ
ellievsbear
izzy's playlists!
Cosimo Galluzzi
seen from Russia
seen from Venezuela
seen from United States
seen from China
seen from Algeria
seen from United States
seen from Colombia
seen from United States
seen from South Africa
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Measuring the Dig, Nathan Downing, 2017.
Measuring the Dig, Nathan Downing, 2017.
41.7325°N, 49.9469°W, Nathan Downing, 2015
Southampton has had a fruitful past, ripe with fascinating stories and historical value. It’s geographical location has rendered the city a key naval connection throughout history, offering a base for trade, travel and a large amount of keen military interest. One historical landmark is probably one of Southampton’s most poignant however and although you may not be able to see the physical remains of such a tragic event, structural entrails still remain to this day. A reminder of a tragedy nestled amongst the palimpsestic entanglements of the city. This series is a photographic exploration of such a legacy, left by the tragic loss of the Titanic in 1912.
The White Star Line’s flagship liner departed for its maiden voyage just before noon on the 10th of April. Previous to its departure from the White Star dock the fluctuation of travellers and city residents, followers of a new hope, would have made their way through the city, taking up resident in hotels, bars, leisure facilities and workhouses along the Southampton shoreline. These structures still remain to this day, a signifier of a golden era, a time of exploration, international commerce and colonialism, yet, amidst the grandeur and reminiscence of a structure, these buildings seem somewhat dysfunctional and lack a true purpose. Each building has it’s own link to the Titanic but also highlights a secondary reference to the aftermath of these structures in lie of such a tragic event.
Last Orders, Nathan Downing, 2015
The UK’s pub tradition is disappearing at quite an alarming rate, on average 29 pubs are closed in the UK each week. The public house is a big part of our historical culture here in the UK and as these familiar establishments and cultural landmarks, comfortably recognised within our landscape, continue to close, we are at loss of revitalisation. Increasingly, alternative replenishment is becoming the only option for such structures; structures that bare stories of such wildly-history and social poignance. These images document the closed pubs of Southampton for what they are at present, unwillingly re-purposed, a long way from their days as a nation’s second home. Lost but not forgotten are the days of the public house.
Somerset House, London, Nathan Downing, 2015
Southampton Civic Center, Southampton, 2016
Intervention Artifice, Nathan Downing, 2017
The Stratford Shoal, Stratford, London, Nathan Downing, 2016
Itchen Navigation, Swaythling, Southampton, Nathan Downing, 2016
Summerly House, New Forest, Hampshire, Nathan Downing, 2016
New Forest, Hampshire, Nathan Downing, 2015
Summerly House, New Forest, Hampshire, Nathan Downing, 2016
Corfe Castle, Dorset, Nathan Downing, 2016
Multi-story Parking Lot, Southampton, Nathan Downing, 2016
Self-Portraits, Nathan Downing, 2015
When asked how I would best be represented through self-portraiture I was taken back by my lack of a definitive response, I was incapable of representing my own identity. Partly intrigued as to why I couldn’t find an appropriate explanation I proceeded to investigate this notion. I find my identity is hard for me to define and I struggle with the more traditional concept of self-portraiture, baring expressive connotations of self-indulgence. A self-portrait intended on revealing identity requires a certain level of self-knowledge and preconceived intention if it is to be a truthful representation. A portrayal of my true identity, intended on representing through means of personal expression, would in fact, in my case, be false. This is accountable to my lack of self-understanding. I believe my own endeavours into self-discovery have only just begun and have certainly not yet been concluded. It is a process of self-realisation and discovery that continues, this is what I seek to portray.
The free-spirited and attentive mind of flaneur was adopted for the entirety of the process. A nonchalant rambling, camera in hand, around the streets of Southampton is, through topographic physicality, a representation of my own journey of self-discovery. I go from shop to shop, location to location searching for a place to belong, a uniform that fits, a direction and destination that allows a conclusive sense of self-understanding. This aimless wandering is the truest representation of myself as an individual, as I am curious to explore my identity. There is also an element of curiosity within the interaction of man and window. The focus on intriguing window displays, once again, highlight my self-investigative tendencies and ultimately my lust for self-understanding.
Carbis Bay, Cornwall, Nathan Downing, 2016
Hide, St. Ives, Cornwall, Nathan Downing, 2016