A Place for the Unknowable: Opacity in Photographic Aesthetics of Environmental Despoliation

This written and visual research project sets out to consider how the notion of opacity marks photographs of environmental despoliation. It argues that opacity can be a critically potent framework in photographic practices that engage with the ecological crisis by means of its construction of more affective modes of communicating a phenomenon that is itself often marked by incomprehensibility. In doing so, it conducts a comparative visual analysis of two photographic series: Anthropocene by Edward Burtynsky and Oil and Moss by Igor Tereshkov. It concludes that Burtynsky’s series constructs an awesome visuality that pursues a revelatory approach but, in actuality, ends up reasserting a set of beliefs that are already widely known, consequently not inciting new, critical modes of contemplating the ecological crisis. Tereshkov’s work, on the other hand, works to recombine the aesthetic with the critical; focusing on the interactions between the images’ visuality and their tactility,...Show moreThis written and visual research project sets out to consider how the notion of opacity marks photographs of environmental despoliation. It argues that opacity can be a critically potent framework in photographic practices that engage with the ecological crisis by means of its construction of more affective modes of communicating a phenomenon that is itself often marked by incomprehensibility. In doing so, it conducts a comparative visual analysis of two photographic series: Anthropocene by Edward Burtynsky and Oil and Moss by Igor Tereshkov. It concludes that Burtynsky’s series constructs an awesome visuality that pursues a revelatory approach but, in actuality, ends up reasserting a set of beliefs that are already widely known, consequently not inciting new, critical modes of contemplating the ecological crisis. Tereshkov’s work, on the other hand, works to recombine the aesthetic with the critical; focusing on the interactions between the images’ visuality and their tactility, this thesis argues that Oil and Moss’ critical potency is established by means of its destabilising, disruptive aesthetics of the opaque. The ecological crisis is also a crisis of imagination: as humans, we struggle to grasp and make sense of the scale and severity of the devastation that appears to be creeping closer and closer. As such, we are in need of new, innovative modes of imagining our physical environments and how we relate to them. Photography, in its simultaneous ability to remember the past, to contemplate the future, and to imagine alternative iterations of the present, is one itinerary through which that may be achieved.Show less

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A Place for the Unknowable: Opacity in Photographic Aesthetics of Environmental Despoliation