Aspects Of Cosmological Indifference

The visual reverie of dust particles rising through the projector beam of a darkened London theatre formed the genesis of this series, an observation of light and matter that offered a glimpse into the formation of the universe itself.

Whilst concern for the environment has become more of a mainstream preoccupation it remains to be seen if we have not already used up nature’s goodwill towards us. The slash and burn ecocide of previous generations suggests the future is unknown and the tipping point may already be passed. We fail to heed warning signs at the risk of great loss, yet nature offers a greater lifespan by virtue of the fact that it could eventually profit from our disappearance, as evidenced by the recent return of rare and endangered species as well as the emergence of its original forested state at Chernobyl, which remains uninhabitable by humans due to the nuclear reactor fire of 1986. Whilst we continue to rapidly evolve our resource dependent lifestyles, the Cosmos may well shrug its shoulders - completely indifferent to the mesmerizing mess we make of this planet.

Current trends within landscape photographic practice as evidenced by work included in the recent exhibition Landmark at Somerset House (2013) are in some ways akin to the forensic exploration of contaminated landmass without the condemnation, suggesting the photographer is not far removed in exploitative terms from the industrial polluter. I am left with aesthetic indigestion whilst others pay homage to the skills of non-committal observationists – who offer little resistance while Rome burns once again.

In keeping with the practice established in my previous series’ of working only within walking distance, I sought to minimize my impact in the creation of new work to the ‘nth’ degree through the capture of dust on the glass top of a scanner bed - making imagery, this time without actually leaving the house, the intention being to investigate the ephemeral patina of our existence. I found within these representations of disintegration a strange beauty akin to stars and the vastness of space.

Upon learning that atmospheric dust particles form the nuclei that give rise to mist, clouds and possibly even rain (thereby reaffirming the cyclical pattern of nature) - I felt drawn back to my concern for the world outside. Further spurred on by the thoughts of Sarah Nardi who commented on earlier works from the series ‘Edge’.

“The images are desolate, almost bleak, but there seems to be a calm about them. They seem to reassure us that the existence of life or the lack thereof is inconsequential to the universe.” (Nardi.2010.127)

Through observation of the repeated patterns in nature, its beginnings and endings are given greater understanding through staying still - trying to capture scenes devoid of our presence can also engage a deeper level of contemplation. I found myself looking for traces of wilderness, (or our complete absence), and finding it mostly above, beyond the ground, and thereby in the wider universe.

Gazing at night skies bereft of light pollution and overwhelmed by millions of stars not unlike the specks of dust on my scanner bed I found fresh wonder. Through study of the dissolution of matter, and in experiencing our insignificance I had found reassurance. Human time here may be fading, our lives no more than temporary layers that shift, combine, swarm and are gone. As fleeting as are light’s passages - so eventually may be the changes we have wrought upon the earth’s surface, we can but amount to mere scratches upon the surface no more than splashes of colour before we return to dust. Nothing lasts very long, dust rises and light falls, our moments are here and gone - the continuation of existence remains inconsequential to the universe and human demise may well signal the non human natural world as the likely benefactor.

Despite having thoughts centred on the apocalyptic, there came visions of beauty and rebirth. As light is at its cleanest after an electrical storm - so perhaps nature’s healing powers will be, post humanity’s environmental destruction. Will we be the first species to lose our status on this planet through our own discord?

Work from the series was exhibited in the print Room at the Photographers’ Gallery ( Feb- March 2013).

www.nicholas-hughes.net

References:

King, Michael. 2007. ‘Cloud Optical and Microphysical Properties’. In Our changing planet – the View from Space. Cambridge University Press. Nardi, Sarah. 2010. The Post-Postmodernism Issue, Adbusters, 18.2:127 Osborn, Andrew. 2006. 20 years after meltdown, life returns to Chernobyl. The Independent, April 5 Positive View Foundation. Landmark. March – April 2013 ‘Troubled Landscapes’ - Photographies, Published by Routledge, Edited by Liz Wells and Deborah Bright including photographic essay and text by Nicholas Hughes, Oct 2013

Nicholas Hughes
(June 2013)