The world is a funny old place, full as it is with landscapes so far beyond my realm of understanding that I can barely even begin to comprehend they exist. To see environments such as Australia’s salt mines crystallised in a photography series is understandably quite impressive then, and no more so than the landscapes themselves; vast expanses of white populated only by the occasional crane and digger and overhung with a glorious blue sky,
Even better, Emma Phillips, the imager-maker responsible for the photographs, has preserved the strange majesty of the series in a publication which allows the images room to breathe better than I could possibly hope. Orientated in landscape spreads, with varying shades of white to juxtapose with her subject matter, Salt is just about strange enough to question its credibility, and just realistic enough to have you rubbing your eyes in wonderment. Now a round of applause for me, please, for getting to the end of this article without making (almost) a single salt-based pun.
- The creative team behind John Grant’s post-apocalyptic world
- They have beauty, they have grace, they are Jack Mears’ ceramic dogs
- Caroline Tompkins deftly captures goggle marks, swim caps and foam floats
- Illustrator Jan Robert Duennweller's erratic style creates "visual headlines"
- Réka Neszmélyi's boundary breaking identity for Hungarian Bánkitó Cultural & Music Festival 2016
- Five things to remember as a young creative
- Benedict Redgrove’s beautifully hypnotic film about how a tennis ball is created
- Tommy Cash subverts the tropes of rap videos with a fleshy celebration of the human body (NSFW)
- Ian Davis’ picturesque paintings of bureaucratic dystopia
- Is it ever OK to work for free?
- Pentagram unveils refresh of Mastercard’s brand mark and identity
- Peter Saville and Tate Design Studio create beer can artwork for Switch House pale ale