'He walked out in the gray light and stood and he saw for a brief moment the absolute truth of the world. The cold relentless circling of the intestate earth. Darkness implacable. The blind dogs of the sun in their running. The crushing black vacuum of the universe. And somewhere two hunted animals trembling like ground-foxes in their cover. Borrowed time and borrowed world and borrowed eyes with which to sorrow it.' (Cormac McCarthy, The Road, 2006)
The Moor is a series of fifty eight colour and black and white photographs taken on Dartmoor and Bodmin moor between 2015-16.
The Moor juxtaposes the dystopian bleakness and inherent wildness of its landscape against the fragility of the people that inhabit the fictional space.
The series relies heavily on a visual narrative referencing local mythology to give context, but depicting something altogether more ‘unknown’.
‘Planets, Devils, Brutes and senseless Images’ including first and most importantly, the sun, represented these ancestors and were thus appropriate subjects for worship.’ (Matthew Kelly, Quartz and Feldspar, Dartmoor: A British Landscape in Modern Times)
The sense of narrative is reinforced by the reoccurrence of characters that are choosing to inhabit this unforgiving landscape, often appearing on edge, in peril or distressed. The notion of something ‘unseen’ is readily apparent and a force that isn’t overtly visible to the audience haunts the inhabitants.
The realisation of this dystopian future is specifically in response to the perceived uncertainty of life in the modern world. Although the cause of the dystopia in ‘The Moor’ isn’t literally defined, within the images there are semiotic clues that offer suggestions. The fiction is grounded within the ‘real’ landscapes of the Moor. Though instead of overt staging, use of artificial lights and constructed sets, the work relies on using found locations, shifting between pseudo documentary and constructed photographs, constantly blurring that liminal space between fiction and reality.