Particles: photography by Boris Loder
In the field of literature, identity as a container is a well-established notion. My ongoing series Particles transforms this concept into a study of sculptural photography, which questions social and geographical identities.
Instead of representing the location in a wide-angle photograph, the cubes provide a close insight into the place’s character in a densely compressed form. The strict and standardised form with a clean background allows for a level of comparison between the portrayed places. To create the shape, the objects are compressed into acrylic glass cubes that were designed to be put over artefacts in museums. Here they are used to preserve modern-day urban artefacts, making them subjects of archaeological research in the age of the Anthropocene.
On location, these particles are usually so widespread they become unnoticeable. Yet, they tell a given place’s story by means of its organic or inorganic materialism, or traces of consumption and different forms of usage, which often contrast the place’s original purpose.
Although the series can be seen from an environmentalist point of view, the focus lies on its socio-geographical aspect, in that it challenges given images we have of specific locations.
Be it drug utensils on a playground, fast food on a sports field, condoms next to a church, or a junkie squat near a prestigious bank – the contrasts between what a place was meant for, how it is being used, and the preconception people have of it is striking at times, whereas certain stereotypes might as well be confirmed.