3 ways to interpret landscape photography

Surrealism, heritage and industrialisation are the main motives of the three landscape artists we chose to analyse today.

Take a look at the pictures below and try to describe them in your own way, find the commonalities and differences etc. We will be happy to read your thoughts in the comments :-)

“Non-artist”, Brandt went to Paris to meet his mentor Man Ray in his late twenties . His work had a surreal character — not the intellectually playful irrationalism of his teacher, but a poetic romanticism suggestive of de Chirico and Doré. When he returned to London in the thirties, England had forgotten its rich photographic past, and showed no signs of seeking a photographic present. Isolated from the dullness and vacuity of its surroundings, he strengthened his radical vision. His poetic is reflective, pictorial and formal.

In this sample of his work he detaches from a devoid view of the southern bank of the Thames, but at the same time he seems to emphasise with passers-by of every social class and condition.

Guyanese born, British raised. She is a contemporary photographer, painter, researcher of printing techniques and media. Pollard, member of the Association of Black Photographers intervenes her photographs using hand-painting, post-colouring processes. But first, she imprints on the landscape her unique subjectivity of history.

The landscape is seen by her as a blanket, laid out to represent the race, the sense of belonging or otherwise dread from her rural white inhabited English countryside.

Her work is reminiscent of romantic poet William Wordsworth’s lyricism. however it is infused with a stronger materiality, alchemy even, which in her own words is “how the physical world is captured by”.

Torn between England and continental Europe, post-war photographer Davies create astonishing projects that explore the divide between urbanisation and natural space, as a continuation of his coal mines and farm upbringing.

He experiments with large prints of traditionally black and white landscapes taken from high points with medium and format cameras. Lately over the years he implemented DSLR together with darkroom photography.

His main influence is Andreas Gursky’s majestic and disorienting panoramas.

Davies involvement into city reformation and preservation of natural spaces blurs the line between a topographic image and an intentional aim to act on the infrastructure and development of the city.

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