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Interior Landscapes reflect on the general typology of global interiors such as airports, subway stations, bank terminals and hotels. The critical focus of the work is on the programmatic similarities and perceptual differences between these spaces, as well as on the ways in which photography relates to and redefines them.
Experienced almost exclusively en route to somewhere else, global interiors are subject to the whims of timetables and itineraries. The individual surfaces of their infrastructure are encoded with signs of navigation and other information that directs the inhabitants' focus from their present location to their destination. The transitory nature of the spaces defies their actual physical limitations and blurs them into seamless Interior Landscapes.
As much as architecture attempts to create seamless spaces of mobility for a global audience, the actual landscape of mobility is defined and defied by this tension between the local and the global. These nuances can only be perceived outside the space itself and only through an independent medium of representation such as photography.
The format of the triptych accentuates the disruptive continuity of both photography and global interiors. The multiplicity of perspectives in the panels comments on the transitory character of the space. As spectators fill the gaps generated between the panels weaving them together into a hybrid landscape, they begin to inhabit completely new spatial and temporal dimensions of the Interior Landscapes.
The images for Interior Landscapes were taken in France, Germany, Hong Kong, Japan, Spain, United Kingdom and the United States.
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