This series of work examines man’s relationship with natural elements within landscapes. All the images for this project are shot from the point of view of a bench, using the same camera angle and often not even looking through the viewfinder, to build up cohesive collections of views. By photographing these views I want to raise questions of the manmade decisions that primarily affect these landscapes, the most obvious being why put a bench here?


By presenting the viewer with these enforced landscapes, I aim to evoke questions of space and control within what might at first appear like a banal image. Playing upon a deadpan aesthetic I aim to subvert trends in contemporary landscape photography and painting by creating similarly composed images through a randomised process. This juxtaposition between artistic intent and process is a recurring theme in my documentary work, leaving elements of the final piece up to the subject or completely up to chance.


With most of the views taken in suburban parks and gardens there is evidence of human influence within each picture, whether his be a building I the background or the fact that there is a bench there in the first place. Pursuing this project made me question the logic behind some of these benches placement, some places had a bench every 20 feet others had benches that seemingly looked out at nothing. This duality of aesthetic purpose and function was the main reason I initiated this project and influenced how I choose to approach my subject.