How can Harley Weir take photographs of landscapes and capture a natural or industrial scene as if it were a pubescent teenager? Each one of these photos is vulnerable, oily, undulating, smelly, confused and slightly sad: like a grumpy 15-year-old fumbling about for clues of its existence.
I don’t know what Harley looks like, but I can imagine her in these isolated spots standing on a cliff edge or in a patch of sunlight in an abandoned farm, clicking her camera into place and lowering her eye to a viewfinder. What happens next I can’t imagine or predict, because no one really knows how she creates her images, and what makes them so endlessly chaotic and boring at the same time. Maybe it’s best to leave it, never find out, wander off back to the main road and leave her to it.
- Material is the magazine committed to female-identifying individuals
- From sensuous fruit to mythical quests, Jacques Brun’s photographs are a masterclass in lighting
- Klas Ernflo’s illustrations for the Moderna Museet restaurant are a treasure hunt around the gallery’s collection
- In Search of Frankenstein by Chloe Dewe Mathews embodies Mary Shelley's "nightmarish vision" 200 years on
- "Excitement, change and hope": a poster workshop in a Camden basement from 1968 to 1971
- Designer Marc Armand on reimagining the French football team’s jerseys ahead of the World Cup
- The Scouts rebrand aims to reflect a “more relevant image of Scouting”
- Benedikt Luft's identity for Lazy represents the joyful nature of a drunken outdoor party
- Bonjour Garçon combines photography and graphic design to make "strong and delicate" work
- Custom Typefaces: are they worth the hype?
- From being bad to burping glitter: things we learned at The Adobe 99U Conference
- Airbnb launches new bespoke font Cereal, designed with Dalton Maag for online and offline fluidity