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London Overspill (2008-2014) brings together a collection of James Smith's photographs investigating post-war built landscape, concentrating on the architecture of Basildon, Bletchley, Corby, Harlow, Hatfield, Hemel Hempstead, Luton, Milton Keynes, Northampton, Peterborough and Stevenage. An oeuvre that spans the best part of a decade, Smith challenges our perception of the landscape as a permanent physical presence. Written responses to the work have been made by Owen Hatherley, Matthew Shaul and Eugenie Shinkle; touching on the architectural, social and political aspects of London Overspill. Constructed around a friction between legacy and decay within the landscape, the work develops over a modulation of forms, textures, gestures and shapes in architecture that often go unnoticed but have played a significant role in the modern Britain we know today. The publication itself is used as a volume of space through which to encounter these places and forms; both physically and virtually.
After completing an MA Photography (2012) at the Royal College of Art, Smith has gone on to be shown in both solo and group exhibitions across the UK. Underpinning his current research and practice is a debate regarding the architecture of territory and the projection of politics, through aesthetic and cultural definitions of geographic positioning within the English landscape. The articulation of territory through form can be seen as a presentation of intuitive structures that radiate and demand their coexistence within a landscape. A structural rhetoric of the obstinate, the stubborn and the immovable become established chapters of identification.
Edition of 400
19 x 27 cm
Soft back folded cover
Inside pages on Nova Silk 150 gsm and Munken white 120 paper. Full colour offset litho