The ‘Fear of Light’ project focuses on the research and documentation of abandoned places and heritage using photography as a medium to explore the concept of construction and deconstruction, internalising fading architectural treasures, encapsulating the ephemeral narrative, a non-existent story line that only lives for a split moment. This fleeting moment lives on in a constant unchanging state,
by diverting the view of the face, the images become more ambiguous, the viewer is no longer able to tie a defined story line to the image. As industries change, buildings often get left behind, it is important to document our heritage and have a record of these places before they are gone forever. The albums below provide a glimpse into our forgotten past, often giving the feeling that it’s the end of time. (This research is part of an ongoing Masters Degree / PhD)
Over the past few months I have been working closely with Queensland Rail documenting their workshops and rolling stock, more recently, connections have been made with the largest collection of rolling stock in the southern hemisphere. Documentation of this collection begins end of November 2017.
As part of this research, a Hard Cover book will be released in the near future that will include in depth information about some of the places I have recently visited, the importance of these places played in shaping communities and industries.
If you have ever worked at any of these places, have further information about a place or would like to make any corrections in the descriptions provided, please contact me using the form here. He is drawn to the urban environment and prolifically documents the streets, architecture and states of abandonment and decay across Australia and Singapore. Matt’s images are highly formal in composition, they are often symmetrically balanced and at times so tightly cropped that they verge on abstraction. More often than not, the scene is void of the human figure making them feel like a vision of a dystopian future. When a figure is present, they are often unidentifiable with their back to camera like the lone survivor.
