In an effort to manifest William Faulkner’s idea that “The past is never dead. It’s not even past,” Lake Roberson Newton’s project, Flowers for the Dead, examines the preservation of historical homes, exploring how previously private spaces are transformed for, and by, public consumption.
An installment in our weekly photography series, Eyes on the South
Shawne Brown’s project, Evening Land, features work that began over fifteen years ago as what the artist describes as an “apocryphal portrait” of the country from his home state of Tennessee and stretching across the American Bible Belt.
Photographer Matthew J. Brown’s project, New Developments, investigates the fluctuating story of land use in his home state of Tennessee, where agricultural regions have gradually given way to instances of retail and commercial real estate.
Bradley Marshall’s Hearing Through Walls is a photographic “exploration into American masculinity, lost youth, and domesticity.” The project often pairs the familiar with the unknown, involving childhood friends alongside relative strangers, and images of places to which Marshall has a deep personal attachment presented alongside photographs of new territory.
Devin Lunsford’s All the Place You’ve Got documents the changing landscape along Corridor X, a newly completed interstate project that connects Birmingham to Memphis through a once-remote part of northwest Alabama populated by desolate towns and shuttered coal mines.
In an ongoing series of startling black and white images, Andrew O’Brien captures landscapes along Stringer’s Ridge, a nature preserve near Chattanooga, Tennessee, and annotates them by overlaying pixelated dots, slashes, and abstract shapes to create otherworldly scenes.