Room 6

My former flatmate and his girlfriend enjoying the virtually carefree atmosphere of the last warm autumn day last year in Leeds, just before the second lockdown in the UK was announced. This lockdown was gonna last until Spring 2021, which makes this one of their last moments together in 2020. Even though they only lived a few minutes away from each other, the restrictions affected the amount of time they spent together immensely.

@_katesch on Instagram

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Three young Township surfers in Jeffreys bay, South Africa

@aaronlapeirre on Instagram

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I have been taking pictures of India since she was nine. She was 12 in summer 2020. We met after the first lockdown and went to spend a day by the river. In front of the drama of the year, that picture shows the relief of a young girl to be in the open, in nature.

@cristinafontsare on Instagram

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This picture was taken in June 2020 just after the first lockdown in Catalonia, Spain. It is a mysterious red image of two sisters playing barefoot in a space that we cannot figure out how it is. It could be a natural space, a backstage of a forest.. I had a strong impulse to take pictures in red color during summer 2020. After the dramatic events of the year, red was the color.

@cristinafontsare on Instagram

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Inverted landscape photograph.

@foxtrotlightning on Instagram

@fstopandroll on Twitter

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Preparations for a Tibetan water funeral in Sichuan province

@guzco on Instagram

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The tightly cropped images of Katie and our mother meditate on touch and embrace as a site of contamination and illness but also of love, support and care

@hannahnortonphoto on Instagram

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The tightly cropped images of Katie and our mother meditate on touch and embrace as a site of contamination and illness but also of love, support and care

@hannahnortonphoto on Instagram

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The tightly cropped images of Katie and our mother meditate on touch and embrace as a site of contamination and illness but also of love, support and care

@hannahnortonphoto on Instagram

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This image was made collaboratively with Katie, we created a new visual language that involved her placing coloured stickers on her image to illustrate the different emotions she experiences in specific situations.

@hannahnortonphoto on Instagram

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The tightly cropped images of Katie and our mother meditate on touch and embrace as a site of contamination and illness but also of love, support and care

@hannahnortonphoto on Instagram

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Boys ride ponies on a Sunday afternoon in Old Havana

@kasia.trojak on Instagram

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The murder of George Floyd by a police officer in Minneapolis, Minnesota triggered an outpouring of grief, anger and calls for social justice across the globe. This image was taken in Trafalgar Square, London on 13 June 2020 where a large group of Black Lives Matter protesters had gathered. At the same time large groups of right-wing counter-protesters gathered nearby. This all occurred against the backdrop of the COVID-19 pandemic and the associated nationwide lockdown. Despite a huge police presence on the streets of London, there were numerous violent clashes between the two groups throughout the day. 

Shot with a Hasselblad 500CM on Bergger Pancro 400.

@man.withacamera on Instagram

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Protest in Times Square- New York- September 2020 - against mistreatment of women immigrants by ICE- Protester facing the police asking them to join the movement - 90 people were violently arrested

@ny.strong, @carolinemardok on Instagram

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Interviewee: Alejandro Vasquez, Extinction Rebellion Youth USA Action Coordinator, Washington, D.C., USA. 
Interviewer: Pamela EA, Zoom Video Conference on Macbook Pro, December 2020.
Projected Image: Cempasuchil en el Cementerio, Oaxaca, Mexico., November 2018.

@pamela__ea on Instagram

@pamela__ea on Twitter

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Interviewee: Kevin Mtai, Mock COP 26 Event Coordinator, Earth Uprising Regional Coordinator,
Co-founder of KEAN network, Member of GCC, Soy, Kenya.
Interviewer: Pamela EA, Zoom Video Conference on Macbook Pro, December 2020.
Projected Image: Las Estrellas del Pasado, Uyuni, Bolivia., March 2019.

@pamela__ea on Instagram

@pamela__ea on Twitter

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Interviewee: Tara Santos, Extinction Rebellion Philippines National Coordinator, Manila, Philippines. 
Interviewer: Pamela EA, Zoom Video Conference on Macbook Pro, December 2020.
Projected Image: Inundación en Chajul, Lacandon Jungle, Mexico., December 2020.

@pamela__ea on Instagram

@pamela__ea on Twitter

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Interviewee: Valentina Prada, Fridays for Future Organizer, Co-founder Latinas for Climate, Bogotá, Colombia.
Interviewer: Pamela EA, Zoom Video Conference on Macbook Pro, December 2020.
Projected Image: En el Arroyo de los Monos, Lacandon Jungle, Mexico., March 2019.

@pamela__ea on Instagram

@pamela__ea on Twitter

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A Man standing alone in one of the industrial areas of Mumbai

@sureshnaganathan on Instagram

@reshman19 on Twitter

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A lone figure on a Sunday at a crowded beach

@sureshnaganathan on Instagram

@reshman19 on Twitter

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Little Germano from Beixo Guandu at the River Doce in Brazil is determined not to let the pandemic ruin his 7th birthday. I photographed him and his mother Cinthia for my reportage-project about the aftermath of the fatal mining dam break five years ago that poisoned the river over a stretch of around 700 kilometers. This heavily affected the supply of drinking water in the towns along the river, which caused a disease in Germano’s skin. Help can be found only by a specialized dermatologist in the county’s capital Vitória but his mother was afraid to risk the long journey because of the pandemic.

@thomasbyczkowski on Instagram

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Five years after the mining dam disaster at the River Doce in 2015, which killed 19 people and poisoned the river over a stretch of around 700 kilometers, the fishermen of Maria Ortiz, a small town at the banks of the River Doce in Brazil, took to the railroad: They demonstrate against the sluggish implementation of help by way of blocking the mining company's miles long trains of iron ore from passing through their town. Thinking the pandemic would pin them in their houses, the company announced that they were cutting the vital monetary help for the victims of the dam break. The company claims that the water is clean again and they can go fishing and thus do not need the monthly subsidies any more - a claim the fishermen -and various scientific investigations - heavily dispute.

@thomasbyczkowski on Instagram

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Dona Delcina visits the graveyard of Tumiritinga at the banks of the river Doce in Brazil to look for her acquaintances who have died in the aftermath of the mining dam disaster at the Rio Doce in November 2015. „No one speaks of the people who died from illness or depression“, she says. Illnesses which stem from the poisoned water and the struggle for recognition and compensation by the mining company responsible for the disaster, she is convinced. A struggle made much harder by the pandemic due to the fact that people cannot gather for events or protests anymore to join forces against the company.

@thomasbyczkowski on Instagram

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Sitting in her small apartment with moist walls and no window in a so called favela, a shanty town in São Paulo, Brazil, in the midst of the first lockdown, mother Michele explains her situation: „We are eight of us here, including my father and my brother." Neither is at home. The brother is a street vendor, the father out meeting friends. As an asthmatic she knows that she belongs to a risk group. But: "My biggest concern is my baby. It is a gift from God. But her lungs are not good for anything, the doctor has already made that clear to me." For most people in a favela it all boils down to one question: going hungry or risking an infection?

@thomasbyczkowski on Instagram

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The full shelves and empty aisles of the Norwood and Brixton Foodbank, located inside St Margaret the Queen Church in Streatham Hill, South London.

Since the COVID-19 pandemic first put the UK into lockdown in the spring of 2020, the demand for food banks across the UK has surged. Between 1 April 2020 and 31 March 2021, food banks in the Trussell Trust’s UK wide network distributed 2.5 million emergency food parcels to people in crisis, a 33% increase on the previous year. 980,000 of these went to children. Compared to this period five years ago, the need for food banks in the UK has increased by 128%.

@tomeagar on Instagram

@eagar_tom on Twitter

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As night falls and the Covid pandemic sweeps the city, a masked Parisian hurries home while others linger at the local cafe. Rue de Sèvres, 7th arrondissement, 2020.

@tonymaniaty on Instagram

@Mediatettix on Twitter

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Posters of Black men, women, and children who have been killed are displayed across a fence, with the Manhattan skyline in the background.

@yuchenchiuart on Instagram

YuChenChiu on Twitter

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Grocery shopping during the COVID-19 pandemic. People are socially distant and stand in a long line to enter the Costco in Industrial City, Brooklyn, New York.

@yuchenchiuart on Instagram

YuChenChiu on Twitter

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Constructed Landscape . Collage of 2 photos manually overlapped. In the foreground, the monochrome scenery and behind, it's digital chromatic colors

@andrealkalay on Instagram

@andrealkalay on Twitter

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One night in March, 2020, my partner Karen sat down to express a strange grief that had not yet happened. Words rose out of her. They surfaced from a deep, knowing place. 
“The world will never be the same again.”
That night is when we met. 
And the world went still. 
A year later, we are driving. In a car with all of her belongings, from Adelaide to Sydney. I decided to stay in Australia and she is coming to live with me. 
This picture shows new growth covering the trees as we drive to our new home. They were severely burned during the 2019/2020 Bushfires which spread across the country.

@arkadius.photography on Instagram

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During the COVID-19 confinement, I became obsessed with my respiration. This image is part of a series of depersonalized self-portraits, an exploration of the fragility of the body through a vital movement that is both involuntary and conscious. The single candlelight illumination is in part inspired by Georges de la Tour, who himself is thought to a have died from an unspecified epidemic.

@ayottejean on Instagram

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From the series of works “Child’s play” 
This series of works was made during the Covid pandemic in the spring and summer of 2020 in the Moscow region / Russia.
There is my daughter Melania in the photo, who is 11 years old.
These photo shoots narrate the story of a girl, who is in a transitional state between a child and an adult girl. This is the most difficult and interesting stage in a person's life. Changes occur not only in the spiritual origin (thinking, behavior, communication), but also physically (transformation of the body). This is the period when a teenager is separating from the family, but not completely, he or she is still connected with it, but the orbit of his or her movement becomes much larger than before. There is the "feeling of adulthood" as a neoplasm of this age. The sense of maturity relates to a special form of consciousness: to treat oneself as an adult, a view of oneself as an adult, a desire to be and seem to be an adult. Each photo represents a certain crisis phase from a pronounced negativism to the absence of negative symptoms.
P.S. no matter how sad and terrible the situation with the pandemic is, for me personally, quarantine has become an unique opportunity to be with my child for 6 months every day and watch her turning from a small child into an adult girl.

@beegemot on Instagram

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Typically, we understand faces to be the emotional centers of human reference. After all, they contain the tools most adapted to conveying nuance and affect – the eyes and the mouth.  Despite this, when separated from everyday interaction, we become quickly aware of how much our hands have to say.
The hands contain an infinite, gestural expressiveness; a physical library of symbols and utility able to hold, to touch, to grip, to break, to reach, and to feel. They are equally capable of softness and brute physicality. We use them to caress, to create and sometimes, to destroy. Consequently, when we separate our hands from the body, we begin to understand their visceral lexicon, one of need, desire, and elementary interaction.
In this series, illustrated against the vacuum of a nebulous, black background, the object permanence, or materiality of the hands takes center stage. They are frozen at infinity, in postures of contortion and fragility meant to instil a sense of unease, solitude and searching. Much like our intellectual and emotional selves, the hands are constantly searching. They are our main way of interfacing with concrete world and therefore, present a notion of the physical extremities of our lives. They are the gateways between what is inside and what is outside. It was this feeling of liminality that guided my approach. I wanted to isolate the hands as the interstitial and therefore existential navigators of our worlds.
In light of the pandemic, this image takes on new resonance. For the past two years, we have had to alter the core of how we live an interact; removing ourselves from the outside world, our friends and loved ones, and confining ourselves to prolonged states of quarantine. There is something both deeply intimate and universal about a hand, reaching through the inky dark of its surrounding and out towards the viewer. It embodies, in corporeal exactitude, that desperate desire for contact, for something beyond ourselves.

@bendickeystudio on Instagram

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@cosimodamiano_ on Instagram

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Magnolia flowers at night, April 2021. I made a series of photographs during walks and runs in Hackney everyday during lockdown. I walked and I explored parts of my borough that I had never ventured into before. I made repeated images of my route, the trees, the sky, the changing weather, the streets and the objects found along the way.

@hevphoto on Instagram

@hevphoto on Twitter

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We go on a family walk every Christmas Day. Since my parents moved to Dorset, we often walk along the beach. During the walk, Dad sat down next to a tree branch that had been washed up by the tide. They looked like old friends looking out to sea. To me, this photograph conveys both hope and uncertainty for the future.

@ellie_ramsden on Instagram

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This documentary portrait shot on medium format analogue, is part of a wider curation with the same title. A series made up of collected fleeting moments during 2020, a time of the global pandemic COVID-19, stripping mediocre distraction and finding pause on values, raw truths and ultimately humanity's hope. 

This particular work was shot at the end of Melbourne’s Stage-4 pandemic lockdown, with mandatory social distancing practices in place and adding to the story. A day long portrait sitting of the people, for the people. Subjects were asked to finally unveil their faces, in front of the camera, into the open air after a long time of wearing face masks outdoors, translating their experience on their faces and through their bodies. A heavily drenched narrative of realising mortality and grieving basic freedoms. A visual note on mentality and humanity pushed to hardship and fragility on a global scale within a fast modern world. 

‘Down come the four walls, as we blink into the sun, you can now take off your mask... we all have a story.'

@ilsa_whk on Instagram

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‘Betwixt & Between' is a body of work marking the transitional phase of 2020 and my experience of waiting to become a parent. 
 
Having recently moved to the coast at a time when my wife has been pregnant, I have found myself drawn towards images that seem to fall between two worlds as well as to the tides of feeling that my in-between situation has seemed to engender.  
 
This transitional period of being neither here nor there, but always in anticipation of something yet to come, has brought back memories of a recurring nightmare I had as a child of a dark, hairy figure in the distance on the beaches of Suffolk, reminiscent of one of M.R. James’ ghost stories. Recently this otherworldly figure of my past has become increasingly present for me and during my walks along the moonlit beaches and windswept cliff tops, I have felt it there, watching me.  

This experience has challenged my thinking around the extent to which certain images of our past might reappear at times of uncertainty. And this has led me to question if unconscious sensation can be made manifest in what we can see or envision, and ultimately what we can photograph. Exploring the unfamiliar terrain of my new coastal home with my camera has enabled me to seek out images of things that seem to hover as if on the edge of something. 

This year, for many of us, our experience of time has shifted, and like waves lapping on the shore, our pasts and futures have felt both more present and further away than ever before; boundaries of the real and unreal have blurred and we have all in our own ways, slipped from one domain into another, neither here nor there.

@jacobweeksphoto on Instagram

@jacobweeksphoto on Twitter

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A collaboration between Clémentine Blue and Joseph Ball.
~
'Lacuna / Intertwine' is the result of a long-distance collaborative project, where two photographers who met online exchanged undeveloped films exposed in their local areas, for the other to overlay with their own set of images. Created during the UK winter lockdowns, a time where it was difficult to connect and make art with others in real life, this act of posting film, walking and conversing through photography felt invaluable.


Both collaborators walked around their local areas with their camera, a stroll they might have done hundreds of times, taking pictures of things they may have seen hundreds of times - but knowing that another exposure would imprint the film allowed for a fresh perspective. These interwoven frames offer the chance to see the landscape in a different way, and reflect on the differences between their respective locations. Embracing chance and happy accidents, the resulting images depict a dream-like in-between space, where multiple locations, events and time-scales are intertwined on a single surface. The compositions are a photographic 'cadavre exquis', where two unknown elements are combined to reveal a new surreal image. Birds sweep through gloomy forests, moonlight pierces the surface of the ocean, distant lights and shadows are cloaked in sea-spray. It felt appropriate to embrace the feelings of uncertainty created by the circumstances in our creativity, and echo the warped sense of time experienced over the last year. As a final layer each image was printed onto handmade paper, postcard sized.


This series is a reminder that creativity can offer relief and nurture relationships, especially when our world is so broken that every social activity has stopped. It's important to remember to make art for the joy and excitement of it, and this film swap has been a way to find solace during a strange time of isolation.

@josefball @clementine__blue on Instagram

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Berlin, Jan 2021

@katinka8 on Instagram

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Similarly to flowers, this pandemic did not announce its arrival to the world. I hope it blooms only temporarily and will eventually wither. 
Even though I have always loved going for long walks, I especially went on many of them during this pandemic. It is the ideal way to clear my mind, by simply focussing on taking pictures; observing my immediate surroundings through a different lens. I discovered some new places in my area I had never been to before and revisited some old familiar sights from my childhood.

@lauramchen on Instagram

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If there was one positive thing about this pandemic, it is that for many it has rekindled their relationship with nature. It has taught us to appreciate the little things and that this process of returning to the basics can be very healing. A lot of people in my surroundings started getting into gardening, growing their own produce and even building allotments.

@lauramchen on Instagram

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Run - from the series Island Symmetries - what is furthest away is most similar

@laurapannack on Instagram

@laurapannack on Twitter

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Christmas decorations adorn an eerily empty Whitgift Centre in Croydon, London as stay-at-home orders remain in place throughout the UK during the second national lockdown.

@nathanielp_photography on Instagram

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Scaping home - South East London

@pilarsgomez on Instagram

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Angelo Carlos Binda was born in Itaguaçú, Brazil on 30th of May 1925. During the Covid-19 pandemic, Angelo - who suffered from memory loss - couldn’t understand why his family had stopped to visit him. With his condition getting worse with each day that passed, Angelo started reliving his own childhood memories, as if these old sweet recollections was the only way to maintain his significance of living. Ageing in Place is an ongoing photographic project that explores self-perception through the spectrum of memory, relationship and ageing. The intimate moments shared with my grandparents inspired this series where I seek to understand what this whole scenario of isolation, memory loss and hardships meant to them.

@rebecabinda on Instagram

@rebecabinda on Twitter

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Portrait of Jung, 2020 - A portrait of my close friend Jung through a live feed from laptop webcam to CRT TV.

@ryankevin on Instagram

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Winds of Change reflects on a difficult and uncertain time in Britain's history and my own personal fears and anxiety about not only Britain's future, but the future of the world and its effects on those close to me. 

As echos of 1930s Pre-War Europe engulf Asia and the United States, it has become clear that the balance of power and future of humanity has changed. Where Britain belongs in this new world is yet to be found.

There is a sense of silence and calm within the image, tinged with elements of sombreness and decline. There is an overwhelming sense that the old world is dying and a new one is emerging.

@samuelfradley96 on Instagram

@SamuelFradley on Twitter

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This image is part of my project "Transcendent Country of the Mind” - a project exploring my encounters with alternative dimensions of reality and perceptions of otherworldly signs around us. However, this image is also reflecting the start of the pandemic and my emotions around it. I took this image 17th of March 2020, at the time when I was worried about the future and unaware when I would be able to visit my home country again. The image describes the spread of the virus and reflects the uncertainty related to the start of a global pandemic.

@sari_soininen on Instagram

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October 18, 2019 : Villagers are witnessing dumping in a dumping ground near a coal mine. Jharkhand's Jharia remains the most important coal mine of India. With its largest reserves mining has become a source of income for the poor local villagers. They are so poor that their children suffer from malnutrition. In spite of that they are forced to send their little ones to work in the dangerous mine which is a common ground for underground fires, suspension of poisonous gases, and pollution, etc.  Additionally, illegal mining activities have made their conditions even worse. The poor villagers are forced to sell their children to the coal mining mafias. With every passing day, the sufferings of the poor lot are worsening. More and more of the village population are getting associated with this illegal mining for less than 2 USD even after knowing the risks to their life.

@supratimart on Instagram

@supratimart on Twitter

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Late afternoon sunlight on the staircases of the 1, 2, 3 trains to the New York City subway station. Taken with Minolta TC 1, on Expired Film (Konica 400 - 1989)

@TheWarnerAesthetic on Instagram

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"A pestilence does not have human dimensions, so people tell themselves that it is unreal, that it is a bad dream which will end. But it does not always end and, from one bad dream to the next, it is people who end, humanists first of all because they have not prepared themselves.”  

Has it happened before? In Albert Camus’s ’the plague’ published in 1947, the narrator remarks,” The town was inhabited by people asleep on their feet…”. Have things changed now? Have you been watching? people succumbing to the virus, inequality, hunger or captivity. Do you think we played a part in it as well? Do you think it’ll happen again?

The above captions have been taken from "the plague" by Camus to show their resonance with our current circumstances, even a century later.  The story aims to dwell deeper into the psyche of it’s protagonists, in this recurring phenomenon of suffering with an aim to overcome the inertia of it’s audience with questions.

@tothinkornottonotthink on Instagram

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It was early June when we "met" while on two different continents connected by modern technology. Despite the pandemic and other circumstances, not able to photograph in person, we managed to proceed with the shoot and capture it on film. Blazej is a humble teenager from Poland who, in such a short time, experienced things that changed his life inevitably. After the tragedy he experienced as a 14-year-old, he was found in a critical condition, kept alive in a coma when he lost both legs under the train wheels. Now he has his own foundation, which aims to help those under their care and support the proper development of disabled children and youth by promoting an active, healthy lifestyle.
He's passionate about sports and fights for a "normal" life. Training now to become a boxer and signing with Pinokio Models, a Warsaw-based modelling agency, he's changing how society looks at disabled people, perhaps in an environment that still sees him for what he doesn't have rather what (despite all) can achieve.
We can't do much about the past, but we can choose what today and tomorrow will look like.

@mtjozefiak on Instagram

mtjozefiak on Twitter

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The photograph (Lumen Print) presents a transitional self-portrait, interwoven with elements of the environment: identity in time and place. Additionally, it is a document that is symbolic of the time and of the world we found ourselves living in, with the accumulation of dust becoming an indicator of time and change.  Dust, debris and detritus, accumulated during the lockdown, was collected from the domestic space and scattered upon photographic paper. This was exposed outside using a printing-out process and sunlight to create a lumen print (photogenic drawing). The dust and other debris became part of the image: indexes of material presence rather than representation.

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Matthew Hark’s A New Prosperity was a contemporary documentary project dutifully and discreetly documenting fundamental chapters in the UK during 2019 and 2020. The day of the general election (December 2019), the devastation of the flooding (February 2020), the beginnings of the spread of the COVID-19 in the UK (March 2020) and eventual lockdown.

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Visit The In Between

@mohalleronphoto on Instagram

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The title for this project comes from the idea that you can be in one place and simultaneously somewhere else. For a long time I’ve been interested in spaces and how we interact with and within them - in particular the spaces between our physical, metaphysical and virtual worlds. Now more than ever, the lines between these spaces are becoming blurred.
 
The pandemic has forced us to redefine our public spaces and how we interact within them. This has meant for a lot of us that connecting in virtual spaces has become more significant than ever. We have found a stark polarity between spending time in nature (considered grounding and healthy) and being hooked on our screens for developments and connections (considered crowded, disjointed and unhealthy). 
I believe we are at a moment in time when more and more of us are becoming isolated and looking for comfort in these alternative spaces, but unfortunately these spaces can often make us feel even more isolated and disconnected.

@mrhughfox on Instagram

@hughfoxphoto on Twitter

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Person in VR headset

On March 19th, 2020, the UK entered a nationwide lockdown to prevent the spread of the virus known as COVID-19. From this day, Simon Roberts began a series of seascape photographs posted daily to his Instagram account alongside a related poem or quote. His daily photographs continued through the year, covering all three national lockdowns, with the last image being taken on 19 March 2021. In this new video piece 365 photographs are brought together in one timeline, thereby representing an extended meditation on this most significant time in our shared history. 

In such moments of collective and personal upheaval, the sea represents one of the few ever-present, physical constants in the world, whose calming effects are well-known. But the sea is also symbolic of life: tranquil one moment, turbulent the next, it represents the unpredictability of existence; its smooth, placid surface may conceal a raging storm to come. Through repetition, itself a meditative act, we see one sea in 365 ways, sometimes rough and tumultuous, other times serene and mellow, from dawn to dusk. Roberts' record of this ever-changing body of water are unified by one horizon throughout; the remarkable point at which the sea seems to touch the sky. 

The piece reflects on the enormous tragedy of the pandemic, pausing on one photograph taken on 22 January 2021 when coronavirus mortality figures from the Office for National Statistics showed that the UK had surpassed 100,000 deaths. Weaknesses in governance led to avoidable mistakes and caused the UK death toll from covid-19 to pass 125000 by the first anniversary of the UK lockdown, one of the highest mortality rates in the world. Behind every statistic is a person lost and a family grieving.

@simoncroberts on Instagram

@simoncroberts on Twitter

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In this video piece by Simon Roberts we see one seascape photographed in 365 ways, sometimes rough and tumultuous, other times serene and mellow, from dawn to dusk and through all four seasons. Roberts' images of this ever-changing body of water are unified by one constant horizon throughout all the photographs.

The title (x, y, z) references coordinates that seemingly take one to a single point on Earth. However, terrestrial coordinates normally correspond to latitudes and longitudes while (x, y, z) is a deceptive reference to the Euclidean plane. This is reflective of the illusory essence of the piece.

(x, y, z) began as simple photos of my everyday life in Seoul - sunsets, trees, books. While rooted in these tangible elements, my piece draws the viewer into a virtual, surreal world, reflecting the in-between condition of humanity. Hints of nature and ecology provide the undertones of this new world, through mountainous forms, growth, water, and erosion. These are jumbled and reassembled using virtual duplication, glitch-like texturing, and other reworking techniques. The various stills of this world demonstrate how our world exists in a very real and yet a very virtual space. (x, y, z) is an exploration of how the virtual blurs our borders, horizons, and realities, and accurately reflects who we are today. We are 'in-between' our past - real, palpable - and our future - incorporeal, ethereal.

@t41r2a on Instagram

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