Towards an Eastern Landfall,  2016-Ongoing
archival pigment prints, dimensions variable

Towards an Eastern Landfall, is an on-going photographic study of the Cypriot landscape. The project documents the landscape of the island in investigating issues of land, landscape, place and geography, while reflecting on questions of space, locality, ownership, transformation and value. The images are created in parts of the island described as the “peripheral landscape”, land- fragments which both exemplify the geomorphological qualities of the “Mediterranean land”, while at the same time are delineated by the edges of habitation—defined by disregard as neither “valuable” or “beautiful” thus situating them in an indeterminate “natural status of existence”.

Referencing a title-chapter of Lawrence Durrell’s 1957 travelogue-memoir “Bitter Lemons” which acts as a contextual point of departure in viewing this “exotic land”, the work constructs a documentation of the Cypriot land(s) in investigating inherent definitions that are historically, politically, or culturally ascribed onto the contested Cypriot landscape. Operating as a series of visual assemblages, the work attempts to examine the idea of the landscape as an act 2 through which—and onto which, social, historical, and cultural identities and/or discourses are formed, performed, and represented.

The selected sites attest to the complex relationships and practices between the inhabitants of the island and its landscape: cultural artifacts, vernacular structures, utilitarian objects, artificial fragments, signs, physical boundaries, and debris, consolidate with the natural elements in creating these curious natural tableaux. These images do not simply present (or photographically frame) the landscape, but rather evidentially refer to a number of actions associated with the land: of restricting and defining, of claiming or abandoning, of exploiting, of enclosing and guarding, of planning and of commemorating. They point to a landscape that is both a represented and a presented space, they point to multiple sites of visual appropriation and diverse interpretations of what a landscape is.

[1] Durell, L., Bitter Lemons. London: Faber & Faber, 1957.
[2] This refers to W. J. T. Mitchell’s Landscape & Power, in which he suggests “we think of landscape, not as an object to be seen or a text to be read, but as a process by which social and subjective identities are formed”.