• Photographed during 2003 and 2004, this incomplete project began to look at now abandoned locations of social and historical interest.

     

    “Inevitably, one thinks of the famous Gare de Toulon(1861) by Edouard Baldus, one of the most iconic emblems of  19th century French photography: the same centered frame, the same focus on a non-subject, the same feeling of enigmatic evidence in face of  the resistance of  reality.

    The photographs of Marc Wilson belong to those, too rare, which almost naturally make the link between the concerns of the pioneers of early photography and the questioning of  contemporary art.
    It is in the “non-places” of England, that this young Londoner gleans his subjects: abandoned industrial sites, wastelands, unzoned areas, bits of degraded nature, etc.
    In head-on views of extreme austerity, Marc Wilson captures an empty swimming pool disfigured by graffiti, the no- man’s land around a stadium, or a sublime barbed wire enclosure set in the middle of nowhere and protecting nothing.

    Although of a monastic sobriety, these photographs draw their poetic strength, their power of evocation, from the extreme rigour of their composition.
    Most of the time, the photograph  consists of two superimposed areas with identical dimensions (e.g. sky and earth). The photographer defines his subject at the point of juncture – with the focal point at the absolute centre of the image.
    The  almost graphic purity of the horizontal lines and the clearly subdivided zones of colour provide the photography with an order and a plasticity all the more disturbing, in that they bear witness to abandoned worlds bound for chaos…”

     

    Review from ‘Les affiches de Grenoble et du Dauphine’.
    Translation  of Le Réel qui nous résiste by Jean-Louis Roux.

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