Cranes at King's Cross, St Pancras

By John de Plume:

Today, cranes define the skyline of London’s King’s Cross, St Pancras. Their ever presence makes them as if invisible, and yet they are at once unignorable, looming as they do over the proceedings of that immense reservoir of electrical energy. Cranes express the permanent flux of the neoliberal city, the endless growth of capital accumulation made manifest in the endless building and rebuilding of the urban space. Cranes are a concrete representation of the abstract logic of capital, where construction assumes continuation not completion: accumulation with no end other than that of perpetual accumulation as an end in itself.

Each crane alone is an impermanent structure, but cranes and construction remain permanent here. Cranes announce that buildings must be built and, implicitly, that buildings must be torn down too. High in the crane cabin – that liminal space that lays claim to the acquisition of the air by the promised commerce, coming here soon – the atomised subject of capitalist modernity pulls the levers of creation and destruction. Inside or outside of the crane cabin, it makes no difference, such levers are familiar to us all.

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John de Plume is a writer whose work explores political economy, critical theory, and the socio-spatial effects of place. He is a member of Plan C London.

The Beautiful Abandoned: Andrew Emond’s photography of urban decay

Photo: Andrew Emond

By William Carroll: 

Andrew Emond’s Instagram page feels like the visual diary of an apocalypse, a compendium of photographs that chart a beautiful, devastating collapse. The gutted maws of baroque fireplaces leer out at empty rooms, with dusty tchotchkes and ripped hardcovers gathering about the mantelpieces. Old staircases, their bannisters splintered and broken, lead up and down invariably to darker unknowns. In one photograph, uploaded on April 28th 2020, a disordered back office is punctuated by an old CTR television set, showing static. A piece of stock art, parodying the halcyon days of the Hudson River School, dangles limply above it. Elsewhere, in a photograph taken in an old office complex, a prosthetic CPR mannequin sits upright among a pile of assorted metal debris. “Everything’s Fine,” Emond’s caption reads. 

Based in Toronto, and using a Samsung Galaxy S8 to take his images, Emond is a photographer to whom urban decay, domestic neglect, and the general collapse of capitalist spaces pose an irresistible lure. Mostly shot in square format, a technique which Emond admitted often confuses people into thinking he’s shooting on film, his images are like dystopian Wes Anderson still frames. Centrally aligned, with often a visual pun substituting the need for a lengthy caption, the images are frequently colourful in spite of all their internal disorder. Armchairs with stuffing foaming their edges are often captured front-and-centre, whilst mirrors (often broken) refract what lies beyond the frame ad infinitum. The sheer ubiquity of these scenes that Emond happens upon – ‘I find 95% of these places myself’ – suggests that the equivalent collapses of public space are happening everywhere simultaneously. For each new unit erected on an industrial estate in record time, all polished metal and girders, there is another hulking wreck a few miles away in which birds roost and wild animals haunt. Emond has no time or interest in the former. 

When I first came across Emond’s photography on Instagram, I was immediately struck by two particularities of his profile. Firstly, his style of so-called ‘Abandoned Porn’ – an aesthetic movement particularly in vogue during this age of ‘dark tourism’ -  was as visually arresting as it was disquieting. Whose front room is this, that lies so unloved and in such squalor? Where is this office complex, with the glass of its dividing walls and conference rooms scattered across the floor like so much snow? These spaces seemed at once anonymous and yet tied inextricably to their recent abandonment. I wanted to know where, when, who. At the same time, I was also strangely afraid of the answers. 

Photo: Andrew Emond

When browsing his catalogue of colourful destruction, I was struck by his profile’s bio, which reads: ‘Messages from the interior. ’I’d heard that before, but couldn’t quite place it. Eventually, something clicked and I reached out to Emond via direct message. 

“Is the bio line a nod to Walker Evans or am I reading too much into that?” I asked.

“Oh, it’s totally a nod. Glad someone noticed,” he replied. 

The tradition of Evans’ style is evident across Emond’s work – so often is he positioned on the threshold of some devastated scene, haunting the doorway of an apartment left to ruin or turning the corner of a long, snaking corridor. His captions, like Evans, are similarly obscure, obtuse, or metatextual, rarely betraying anything beyond the scene’s immediacy. This brevity extends to subject matter, too. Evans believed in the beauty of the quotidian, and his frequent subjects, especially during the Depression, included rustic kitchens, empty chairs, and tenant farmer shacks slowly eroding in the dustbowl winds. Separated by nearly a century, Emond’s modern answer to Evans’ vernacular, documentary style feels distinctly modern and prescient, doubly so in the current pandemic. 

These abandoned spaces have become familiar to many of us over the last 6 months, and the tragic decline of thriving commercial centres and local businesses has become a plague in of itself. When one set of shutters have fallen, all too often have two more followed suit. In spite of this stark and alarming present we inhabit, Emond’s recording of these spaces far before COVID-19 suggests a certain inevitably. The novel coronavirus may have hastened certain violences, certain collapses, but Emond reminds us that these scenes have been around far longer, and will continue their own ironic propagation as generations change, as the global climate passes its own event horizon, and people continue steadfastly in their living and their dying. To have such a public record of that, and to make it so readily available to anyone with a phone, feels both voyeuristic and yet undeniably creative. Emond isn’t the first person to document abandoned scenes through the medium of photography, but his spartan equipment, use of Instagram, and traditional influences mark a unique and appealing documentarian. 

Beyond the simple aesthetics, there are many literary qualities to Emond’s work and a raft of cinematic influences that likewise bleed in. Tarkovsky’s Stalker (1979) and indeed, the film’s own source material of Roadside Picnic (1972) by the Strugatsky brothers, are immediately called to mind in his darker, industrial scenes where refuse lies scattered and discarded as if by some uncaring, unseen monster. In his more colourful domestic scenes, where the detritus of family life has pooled like floodwater, I can’t help think of Grey Gardens (1975) or even modern television programmes centred around ‘hoarders’ and their obsessive inventorying of everyday life. Our own perverse interests in the spectacle of collapse are widely documented, from Freud’s ‘Death Drive’ to Suzi Mirgani’s Spectacles of Terror (2017), and Emond’s images represent all of these interests in neat, square packages that can be consumed individually or en masse. There will always be photographs to take, always rooms that have been locked for years. This is not a finite pursuit. 

Above all these converging influences and themes in Emond’s work – [which he alludes to in the interview I conducted with him] -  there is a single lyric that I find myself humming, even singing, when looking through his work. It’s from Sebadoh’s ‘Spoiled’, a song made famous for its use in Larry Clark’s controversial coming-of-age film Kids (1995) – a film in which the grimy underside of New York is not a world away from Emond’s tenement interiors. The lyric captures the lure of Emond’s work and why we, as a race, continue to find beauty in our own destruction:

We will wait for tragedy
And scatter helpless to the fire.

As haunting and pertinent as it may be, I can’t help think Emond would find it a bit too on the nose. Evans would too, no doubt. They’re both probably right.

Andrew Emond’s Instagram page

The Low Country

Photo: Andrew Weidman

By Bridgett Brunea:

The Low Country of coastal South Carolina and Georgia in the eastern United States carries an unmistakable slow charge. It is a place I know as a sun-filled haven when my more northerly home is dusted in snow. Many times have I slipped through the outstretched hand of winter and driven for hours into this story-laden place where time winds itself into a warm, quiet sigh. I sojourn here not only to remember the feeling of sun, but for the sense of otherworldliness that flowers quietly the closer I get to the Low Country. It is a tiny universe unto itself, utterly unlike anywhere else I know. 

I think of the Low Country and I think of hot red-dirt roads plunged into a cool line of live oaks; of coastal forests spun with endless waves of Spanish moss and the heavy scent of sea air; of snowy egrets standing in warm December sun, plunging their sharp beaks into still waters to catch unsuspecting fish; of cooking fresh shrimp in a tin pot on the edge of a saltwater marsh as twilight colors the air; of little tin-shack gas stations in the middle of nowhere, their owners inexplicably encased behind a window of security bars; of boiled peanut stands strung along the edges of slow, lonely highways between Savannah and Charleston; of talking to black Southerners and wondering if they constantly wear the weight of a history not of their choosing; of huge wooden churches forgotten in warm, silent forests; of deep-blue skies in the middle of the winter, charging my sun-starved Northern soul.

It is a relief beyond all else to arrive in the Low Country and see that distinctiveness is alive and well in the United States. We are a country unfortunately infamous for our ability to transform unique landscapes into characterless duplicates. One need only visit the suburbs of a large city or any number of desiccated small towns to see what the power of unchecked profit-driven growth can do. We are a country often shamed by our history, and so we shun it, and old buildings and old customs and old landscapes are thrown out and everything must be new, new, new. We are also a people who have been raised on the myth that familiarity and convenience are to be prized above all else, with the disquieting result that whether you are in South Texas or Eastern New York or Central California you can find many stretches of concrete wasteland that look disturbingly similar. Stunning landscapes and unique cultures are there, but they are often hidden beneath a plastic veneer.

The Low Country is no different; it is not a haven set far away from the impingement of runaway capitalism. And yet it effuses an inescapable uniqueness, not because of being untouched by this crushing sameness, but in spite of it. The Low Country was the first place to show me that uniqueness often persists just outside our field of vision.

Though many of the wealthier communities in the Low Country have managed to avoid the devastation of strip-malls and 6-lane roads through the middle of town, most of these parts of South Carolina and Georgia are, in fact, uniquely drowning in the afflictions of unwise city planning and unbridled development. They are often prime examples of the very worst of such development, with not only McDonalds and Wal-Marts filling the car-choked streets, but all sorts of unimaginable Southern takes on fast-food and cheap buys also lining up for their bite out of peoples' pockets. The affect can be dizzying in its ugliness.

And yet - here is the crux of it - and yet it is still beautiful, it is still distinct, it is a place thoroughly itself. People still talk differently here, little idioms and turns of phrase that leave a Northerner like me baffled and smiling; the tall, stalking shorebirds and the quick lizards and the huge, breathy flowers will all tell you you're in a place distinctly its own; the saltwater marshes still mix with the ocean and fill with her waters at high tide; you cannot miss the genuinely slower pace, the shockingly different view of the Civil War, the quizzical looks you receive when you ask if the blue crabs they're about to boil are still alive; no number of phony-looking "Southern Style" housing developments can shake the drenching experience of walking through a neighborhood of shotgun shacks or through a live-oak avenue of antebellum mansions.

No matter how much a place is overrun with attempts at uniformity, commercialization, or purposeful forgetting of complicated histories, there are some things that can't just be coopted, can't be charged for, can't be erased. For this knowledge, I am forever grateful to the imperfect, saturating beauty of the Low Country.

About the author:
Bridgett Brunea is a writer, naturalist, and rambler originally from the northernmost reaches of Appalachia in the eastern United States. In writing and in life, she seeks to experience and convey the luminous meeting point between inner and outer landscapes. She is creating an online journal of observations, meditations, and questions (terrasanctum.world) which she hopes to make available in 2019.