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Philip Cheung talks to Vice about his work and exhibition Arctic Front

Gallery artist Philip Cheung talks to Vice about his work and latest exhibition


Embedding with Canada’s Arctic Guardians

Daily VICE

As a young soldier, Philip Cheung trained in the Arctic with the Canadian rangers. Now, 20 years later, the soldier-turned-photographer is featuring the northern military unit in his latest exhibition.

Philip Cheung: Arctic Front runs January 10 through February 2 at Circuit Gallery @ Prefix ICA, 401 Richmond Street West, Toronto.

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Philip Cheung: Arctic Front

Philip Cheung, Arctic Front
Philip Cheung, “Deactivated DEW Line Site (1), King William Island,” 2017

FOR IMMEDIATE RELEASE

Toronto, ON, January 7, 2019Circuit Gallery is pleased to present Arctic Front, a solo exhibition of new photographic work by Philip Cheung.

In 2016 Cheung was selected for the Canadian Forces Artist Program to continue his work about military cultures and environments. Arctic Front is the first chapter in a long-term project examining Canada’s various post-Afghanistan military foci and engagements—the new and future front lines of operations. Here he turns his lens North, to observe the Canadian Rangers, a part-time military unit comprised mostly of Indigenous volunteers. Cheung writes:

The Rangers have been a visible military presence in remote northern communities for over 65 years and they continue to serve as the military’s ‘eyes, ears and voice’ of the North. As the Canadian military refines its ability to operate in the region, the Rangers will continue to play an essential role in asserting Canada’s sovereignty over its Arctic land and sea.

The Arctic has always figured prominently in Canada’s national imagination and in its claims to sovereignty, but with shifting global environmental, social, economic, and political pressures, the Arctic has also become a potential military front-line, as vulnerable as it is valuable. As Cheung explains:

Canada’s Arctic is its last frontier. The Far North makes up more than 40 percent of its landmass, but contains less than 1 percent of Canada’s population. Rising sea and air temperatures due to climate change are contributing to sea-ice loss, which has opened up international interest in control over new ‘ice-free’ shipping routes in the Northwest Passage, as well as access to the significant natural resources such as oil, gas and precious metals found there.

In addition to these environmental and international concerns, the Arctic is also an important front with regard to the relationships between non-Indigenous and Indigenous people in Canada. As Sara Matthews rightly notes in “Watching the Watchers,” her essay that accompanies the exhibition:

[As] part of the sovereign colonial project in the country we now know as Canada […] the Arctic has a complicated history made from the unsettled relations between newcomers and Indigenous peoples who live and work in relationship to the land.

With over 10 years of experience in the Canadian Armed Forces prior to working as a photographer in some of the world’s most conflicted regions (Iraq, Afghanistan, the West Bank, and Northern Africa), Cheung has an informed perspective on military issues and culture that distinguishes his work from conventional media narratives and reporting. As Matthews notes:

Utilizing a medium format digital camera and tripod, his photographic process is slowed-down and mirrors the attitude of watchfulness with which his subjects are tasked. Encouraging the viewer to likewise adopt this stance of vigilant interest, each photograph offers an enigma that hints towards a greater whole.

The photographs in Arctic Front are subtle, indirect portraits of the dissonant tensions in the North between military and civilian (both settler and Indigenous) interests, resources, and labour and subsequently a contemplation of the human capacity for adaptation, survival, and endurance.

Philip Cheung: Arctic Front runs January 10 through February 2 at Circuit Gallery @ Prefix ICA, with an opening reception on Friday, January 11, from 6-9 p.m.. The Artist will be in attendance.


BIOS
Philip Cheung is a Canadian artist, based in Los Angeles and Toronto, with a significant background and experience in various forms of photography. In recent years, he has decidedly moved towards a contemporary practice focused on research and exploration of issues of citizenship, capital, labour and industrialization through a layered approach of natural and urban landscapes and portraiture. His projects include Desert Dreams, A Winter in Kandahar, The Thing about Remembering, The Edge, and Arctic Front.

His work has been exhibited in galleries, museums and festivals across North America and Europe, including The National Portrait Gallery (London, UK), the Lumix Festival (Hanover, DE) and the Flash Forward Festival (Toronto, CA).

Cheung was named one of PDN’s 30 New and Emerging Photographers to Watch and has been awarded research and production grants by the Canada Council for the Arts, the Ontario Arts Council and Toronto Arts Council. In 2018 he was shortlisted for the Aperture Portfolio Prize. In 2016 he was selected for the Canadian Forces Artist Program (CFAP) by the Directorate History and Heritage to continue a series that examines military culture in Canada’s post-Afghanistan military. Cheung has also been recognized by the Magenta Foundation, Communication Arts, Photo District News and American Photo. His work is held in the collection of Akkasah, Center for Photography at NYU Abu Dhabi, and has appeared in features and reviews in The British Journal of Photography, Canadian Art, The Walrus, Harper’s, The Washington Post, and TIME among others.

Artist Page: Philip Cheung

Sara Matthews is Associate Professor in the Department of Global Studies at Wilfrid Laurier University. Her research and teaching are interdisciplinary and consider the dynamics of war, violence and social change. Working primarily in the field of research-creation, her projects explore the relations between visual culture, nation building, colonialism and martial politics. In addition to her academic-based work, Sara curates aesthetic projects that archive visual encounters with legacies of war and social trauma. Her critical art writing has appeared in PUBLIC, FUSE Magazine and in exhibition essays for the Robert Langen Gallery, Circuit Gallery, the Ottawa Art Gallery, the Doris McCarthy Gallery and as a blog for Gallery TPW.


Philip Cheung

Arctic Front

January 10 – February 2, 2019
Circuit Gallery @ Prefix ICA
401 Richmond Street West, Suite 124
Toronto, ON, M6R 2G5
[ Google Map ]

Opening Reception: Friday, January 11, 6-9 p.m.
Gallery Hours: Tuesday – Saturday, 12:00 – 5:00 p.m.

Philip Cheung, Arctic Front
Philip Cheung, “Canadian Armed Forces C-17 Transport Aircraft, Rankin Inlet,” 2017
Philip Cheung, Arctic Front
Philip Cheung, “Arctic Response Company Learn Traditional Skills, Rankin Inlet,” 2017
Philip Cheung, Arctic Front
Philip Cheung, “Water Break, Simpson Strait,” 2017

Visit Circuit Gallery for more information and to see more images:
www.circuitgallery.com/exhibitions


ABOUT CIRCUIT GALLERY
Circuit Gallery specializes in contemporary photography. Established in 2008 by Susana Reisman and Claire Sykes, the Toronto based commercial gallery represents both emerging and established Canadian and international artists.

Web: www.circuitgallery.com

Email: info@circuitgallery.com
Phone: 647-477-2487

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Sara Matthews essay on Philip Cheung

Exhibition essay

Watching the Watchers

by Sara Matthews

Searching the Canadian Forces website, one learns that the motto of the 1st Canadian Ranger Patrol group is Vigilans – meaning “The Watchers”1. The more direct translation from the original Latin is “watchful”. It may seem a small point, but this subtle shift from the noun to the adjectival form of the word captures something pivotal to Philip Cheung’s approach with Arctic Front—rather than represent a person, a place or thing, he instead labors with description, visually chronicling the attributes and subtle dimensions of thing-ness and place-ness, and so inviting the viewer to do the same.

Arctic Front, Cheung relates, is the first chapter in a long-form documentary project that seeks the frontlines of Canadian Forces operations. In military parlance, the front is the location of tactical contact or contestation between opposing forces. It is where the logistics of martial politics are engaged and encompasses everything from the personnel and specialized equipment to the unique operations and capital economies necessary to the sovereign project of nation-building. Most civilians are somewhat familiar with Canada’s frontline role in Afghanistan from 2002–2014, where Cheung, as an embedded photographer, made several bodies of work2. But where is the front after Afghanistan? For Cheung, this is a pressing question. The Canadian Forces currently contributes to military operations in the Ukraine, Iraq, Syria and the Caribbean, as well as the Arctic3. Starting with the latter came naturally to the artist since he trained there as a young soldier and because, he tells me, the Arctic tundra and the deserts of Afghanistan hold a similar visual quality. He’s also interested to map how these landscapes are altered by the spatial scale of labor—for instance, the ways in which economic and military logistics make an imprint on social and physical terrain.

In the Arctic territory matters and indeed is a question of the material. Sea ice is melting, there is speculation about the partial opening of the Northwest Passage4, and national disputes over fisheries and the delineation of the continental shelf (and access to fossil fuel reserves) are escalating. These worries are an extension of the sovereign colonial project in the country we now know as Canada, in which the Arctic has a complicated history made from the unsettled relations between newcomers and Indigenous peoples who live and work in relationship to the land. Even the juridical frameworks for determining territorial boundaries—does “land” include sea ice, for instance?—are changing as rapidly as the climate5. Resource extraction, claims for territory and rights of passage, environmental conservation, tourism, scientific exploration as well as the manufacture of the North as somehow essentially “Canadian”, make up these settler relations which litter the landscape with the physical ghosts of their infrastructures.

This is the context in which the Canadian Rangers do their work. Originally formed as Reserve corps in British Columbia during the latter part of the Second World War, their nation-wide expansion during the Cold War coincided with a broadened security strategy in the North6. A volunteer branch within the Canadian Forces, the Rangers role includes bolstering national security, stewarding sovereignty and nation-building in Arctic regions. Ranger patrols, which draw recruits from local Indigenous and non-Indigenous communities across the North and are distinguished by their regulation red sweatshirts and ballcaps, conduct surveillance exercises, act as local guides and first responders, as well as train southern military units in the arts of wilderness survival7. But what are the contemporary political conditions that require such an attitude of northern watchfulness?

The Canadian government’s understanding of sovereignty is drawn from the Westphalian tradition which ties national security to the maintenance of the territorial status of the nation-state8. But this Western model is not the only one. Mary Simon, past president of the Inuit Tapiriit Kanatami, suggests that “a twenty-first-century model for Arctic sovereignty must move beyond the outdated model of infrastructure and military bases by including Inuit as partners in defining new goals for sovereignty that include ensuring that new investments are linked to improving the well-being of Inuit”9.

This view of human and environmental security as opposed to national security is reflected in the Circumpolar Inuit Declaration on Sovereignty in the Arctic, which emphasizes sustainable development and the right to self-determination on matters related to health, food security, territories, languages and cultures10. As Simon insists, until “Inuit are treated as all other Canadians are… with the same standard of education, health care, and infrastructure that is the foundation of healthy communities across Canada”, then claims to sovereignty in the Arctic are moot.

With his visual project Arctic Front, Cheung does not shy away from these complicated conversations but neither does he attempt a simple answer. Utilizing a medium format digital camera and tripod, his photographic process is slowed-down and mirrors the attitude of watchfulness with which his subjects are tasked. Encouraging the viewer to likewise adopt this stance of vigilant interest, each photograph offers an enigma that hints towards a greater whole. For instance, Cheung’s study of the metal remainders of deactivated DEW line sites on King William Island (Deactivated DEW Line Site #1 and #2, King William Island; Ration Cans, Deactivated DEW Line Site), reveals the skeletal architecture of the infrastructures of sovereignty and their indelible haunting of the fragile Arctic landscape. This close attention to military logistics—as can be seen in Canadian Armed Forces C-17 Transport Aircraft, Rankin Inlet—divulges its textures but stops short of concluding the narrative. A counterpoint image (Taloyoak, Nunavut) installed at the opposite end of the gallery broadens the perspective to the communities in which the Rangers live and patrol, bridging the gap between southern military transports and their northern destinations. Other works continue this contrapuntal movement, splitting open the dualities between civilian and military spheres of life. Rae Strait, in which the distinction between sea and air is punctured by the recognizable red clothing worn by two Rangers piloting a watercraft, brings together the questions that Cheung’s project suggests: how does one learn to be watchful of the relationships that contribute to one’s sense of security and place?

In her account of learning to see images of suffering, visual theorist Ariella Azoulay articulates the difference between looking and watching11:

Photography is more than what is printed on photographic paper. The photograph bears the seal of the photographic event, and reconstructing this event requires more than just identifying what is shown in the photograph. One needs to stop looking at the photograph and instead start watching it.

Watching, a verb typically used to describe time-based rather than still phenomena, suggests an unstable movement at play in which the subject of the gaze destabilizes any singular instance of what can be known. Given that photographic technologies are so heavily embedded in histories of militarization and surveillance, this attitude of watching moves against the camera’s desire to fix. The type of watching that the Rangers engage is tied to nation-building, but it is also about learning to see relationships that a fixed glance cannot grasp—between water and air and land and place. Cheung’s orientation to this provocation is to take the slow road, to let the story emerge, and to assert the difference between watching as a practice of sovereign power and that of ethical witnessing.


NOTES
1. http://www.army.forces.gc.ca/en/1-crpg/index.page
2. https://www.philipcheungphoto.com/text/, https://aperture.org/portfolio-prize-2018/philip-cheung/
3. http://www.forces.gc.ca/en/operations/current-list.page
4. https://www.enr.gov.nt.ca/en/state-environment/73-trends-shipping-northwest-passage-and-beaufort-sea
5. United Nations Convention on the Law of the Sea
6. For more information on the history of the Rangers see P. Whitney Lackenbauer (2013). “If it Ain’t Broke Don’t Break It: Expanding and Enhancing the Canadian Rangers”, Working Papers on Arctic Security No. 6, Munk School of Global Affairs, P. Whitney Lackenbauer (2013), The Canadian Rangers: A Living History. Vancouver: UBC Press.
7. For more on the Canadian Rangers see Watchers of the North. CBC/APTN.
8. Canada’s Northern Strategy: Our North, Our Heritage, Our Future. Published under the authority of the Minister of Indian Affairs and Northern Development and Federal Interlocutor for Métis and Non-Status Indians, Ottawa, 2009.
9. Mary Simon (2009). Inuit and the Canadian Arctic: Sovereignty Begins at Home. Journal of Canadian Studies/Revue d’études canadiennes, 43(2):250-260.
10. http://www.inuitcircumpolar.com/declarations.html
11, Ariella Azoulay (2008). The Civil Contract of Photography. Brooklyn: Zone Books.

Sara Matthews, December 2018
©Sara Matthews. All Rights Reserved.


Bio

Sara Matthews is Associate Professor in the Department of Global Studies at Wilfrid Laurier University. Her research and teaching are interdisciplinary and consider the dynamics of war, violence and social change. Working primarily in the field of research-creation, her projects explore the relations between visual culture, nation building, colonialism and martial politics. In addition to her academic-based work, Sara curates aesthetic projects that archive visual encounters with legacies of war and social trauma. Her critical art writing has appeared in PUBLIC, FUSE Magazine and in exhibition essays for the Robert Langen Gallery, Circuit Gallery, the Ottawa Art Gallery, the Doris McCarthy Gallery and as a blog for Gallery TPW.

Website: Website: www.saramatthews.ca

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Philip Cheung: The Edge

Philip Cheung, "Lifeboats, Al Jaddaf, Dubai," 2015, from 'The Edge'
Philip Cheung, “Lifeboats, Al Jaddaf, Dubai,” 2015

FOR IMMEDIATE RELEASE

New exhibition offers a contemporary look at the rapidly changing coastal landscape of the United Arab Emirates

Toronto, ON, January 4, 2017Circuit Gallery is pleased to present an exhibition of ten large-scale photographs by Philip Cheung from The Edge, a new project that follows the 1300 km coastline of the United Arab Emirates looking at the region’s rapid development and transformation.

As Cheung Explains:

The United Arab Emirates is a country in a state of constant geopolitical change. Once an obscure Gulf nation, the UAE has, in just 40 years, emerged from the desert sands. Substantial economic growth resulting from the discovery of major oil and gas reserves off the coast of Abu Dhabi have transformed the formerly semi-nomadic Bedouin society into a thriving localized culture, anchored in international business, tourism, and luxury

Significant urban and industrial development has attracted migrant workers, business people, consumers, and tourists from all around the world. Expatriates now make up 85 percent of the population in the major urban centers of Abu Dhabi and Dubai. As a result, the cultural identity of the Emirates as a whole is evolving through a constant influx of foreign influences.

The Edge is a continuation of Cheung’s successful project Desert Dreams which offered a modern portrait of the Emirates and its negotiation of a relationship between traditional culture and lifestyle and the new cosmopolitan aspirations afforded by massive wealth, intense urbanization, and economic development. With this new work Cheung turns his attention to the landscape and to the varied activities taking place along the coast. In these photographs he’s looking at the expression of these changes and ambitions through the built environment, architecture, infrastructure, and indeed the use of space—the spaces various people occupy, from local Emirati’s to Western expats and migrant labourers, and the distance between co-existing and contrasting worlds.

As Leo Hsu astutely writes, in his essay accompanying the exhibition:

Cheung’s photographs are powerful because, beyond surveying, or describing, they suggest the seeming necessity of the present moment, which in his graceful compositions feels both inevitable and eternal. At the same time, they underscore the moment’s contingency—the feeling that the cultural features on display, functions of power, economics and globalization, look so specific, when seen in the context of the landscape that has made this wealth and power possible. Where nature cannot but look as it does, the built environment betrays human ambition in the way that it assumes its specific forms. The success of Cheung’s photographs is its evocation of the tension between these two imperatives.


BIOS
Philip Cheung is a Canadian photographer with experience in various forms of photography who, since 2007, has worked extensively in the Middle East, particularly the United Arab Emirates. In recent years, his personal work has focused on research and exploration of issues of citizenship, capital, labour and industrialization through a layered approach of natural and urban landscapes and portraiture.

Cheung’s work has been exhibited in galleries, museums and festivals across North America and Europe, including The National Portrait Gallery (London, UK), the Lumix Festival (Hanover, DE) and the Flash Forward Festival (Toronto, CA), and has appeared in features and reviews in The British Journal of Photography, CNN, Boston Review and TIME, among others. Clients include The Wall Street Journal, The Guardian Weekend Magazine, Stern, The Independent Magazine, The New York Times, Der Spiegel, Le Monde and Wallpaper*.

In 2011 Cheung was named one of PDN’s 30 top emerging photographers, and in 2016 he was selected for the Canadian Forces Artist Program by the Directorate History and Heritage to continue a series that examines military culture in Canada’s post-Afghanistan military. He is currently based in Los Angeles and Toronto.

Leo Hsu is a writer, researcher and photographer based in Toronto. He is a regular contributor to Fraction Magazine and holds a PhD in Anthropology and Certificate in Culture and Media from New York University.


Philip Cheung: The Edge runs January 12 through February 4, at Circuit Gallery @ Prefix ICA, with an opening reception on Friday, January 13, from 6-9 p.m.. The artist is in attendance.


Philip Cheung

The Edge

January 12 – February 4, 2017
Circuit Gallery @ Prefix ICA
401 Richmond Street West, Suite 124
Toronto, ON, M6R 2G5
[ Google Map ]

Opening Reception: Friday, January 13, 6-9 p.m.
Gallery Hours:
Tuesday – Saturday, 11:00 a.m. – 5:00 p.m.

Philip Cheung, "Friday, Fujairah," 2014, from 'The Edge'
Philip Cheung, “Friday, Fujairah,” 2014
Philip Cheung, "Roundabout, Khor Fakkan, Sharjah," 2014, from 'The Edge'
Philip Cheung, “Roundabout, Khor Fakkan, Sharjah,” 2014
Philip Cheung The Edge Circuit Gallery
Installation view of Philip Cheung’s solo exhibition “The Edge” at Circuit Gallery @ Prefix ICA, Toronto, Canada (January 12 – February 4, 2017)

Visit Circuit Gallery for more information and to see more images:
www.circuitgallery.com/exhibitions


ABOUT CIRCUIT GALLERY
Circuit Gallery specializes in contemporary photography. Established in 2008 by Susana Reisman and Claire Sykes, the Toronto based commercial gallery represents both emerging and established Canadian and international artists.

Web: www.circuitgallery.com

Email: info@circuitgallery.com
Phone: 647-477-2487

###

Leo Hsu essay on Philip Cheung

Exhibition essay

The Coast

by Leo Hsu

In The Edge, Philip Cheung visualizes the rapid growth of the United Arab Emirates in quiet, still tableaux. By taking a step back from the glamour that so frequently defines the UAE’s visual narratives, Cheung’s photographs describe the current moment as a balance of tensions. The Edge makes visible a complex dynamic between nature and human ambition, describing the scale at which people live in relation to the scale of the environments that we create, and simultaneously recognizing the coast’s permanence and the human desire to transform it.

In the ten photographs on display at Circuit Gallery, Cheung takes us to privileged and public spaces, and shows us spectacles of urban design and uncompleted construction projects. He does so with a poetic reserve; Cheung lived and worked in the United Arab Emirates for a large part of the last decade, and The Edge, his study of the coastal nation, is absorbing in part because of the way that he deploys his position as an outsider with extensive local knowledge. Cheung is neither distracted by scale nor dazzled by the splendor that he depicts. He recognizes that cities like Dubai are built to be seen in certain ways, and asks us to consider the intense activity and rapid development of the UAE at a remove. There is a beauty here, Cheung suggests, that encompasses both what is built and the coast that it’s built upon.

Cheung’s photographs draw attention to ordinary moments, elevating them. A group of men squat in a tight circle on a beach for a meal, surrounded by an expanse of sand. On another beach men on horseback converse with other men sitting atop a Jeep; both horses and automobile are immaculate and still. Tour boats in the Dubai Marina approach a city that appears to be the entirety of the world. Human figures, small in scale, are dwarfed by their proxies: the roads, machines, and structures that they have produced to create the world that they desire.

Some of the photographs are completely absent of people, with inanimate subjects nonetheless indicating aspirations, vanities, and vulnerabilities: a pair of lifeboats on the beach; the banquet hall in Khor al Maqta, its chairs dwarfed by opulent chandeliers and fixtures; the uncompleted Palm Jebel Ali bridge built on reclaimed land along the coast. The banquet hall is the only interior in this group, and the sky’s absence makes it feel almost claustrophobic, despite the height of the room’s ceilings. Apartment building rooftops, with plastic furniture and washing hung from lines, appear as though someone just moved in. Unburdened by the contours of existing infrastructure, cities and roads appear to emerge whole from the desert. Where does the city end? Such is the splendor and scale that one cannot help but ask how this room, this city, this road, came to be.

Cheung intends for his images, which capture extraordinary detail, to be viewed as large prints. The photographs recall European landscape painting of the early 18th century, when the landscape ceased being the background and became, in its own right, the subject of the painting. Those paintings often asked what the appropriate relationship between civilization and nature in a rapidly changing world might be, and Cheung’s views of the UAE pose similar questions at the beginning of the 21st century.

Nearly every one of the photographs in The Edge has three characteristic features, which, notably, are neither the sea nor the people who live by it, but are sky, earth, and elements of the built environment. The sky, almost always present, appears not as negative space, but as a rich, subtly textured presence in the frame. Clouds catch or pass the light as watercolour washes. Like the sky, the ground—whether earth, rubble, or sand—is thick with detail. The lines are complex and irregular: tire tracks, displaced dust, wind-formed contours—there are always markings. And, Cheung seems equally drawn to the design and geometries of the things we make and use: the oval lifeboats, the angular military aircraft at a defence exhibition, the neat circle of the Khor Fakkan roundabout, a quarry backhoe. Function and appearance dovetail, producing figures that seem essentially unitary. The bold lines and sharp colors of the built environment and the objects that populate it contrast with the messy logics of the patterns we see in the sky and the ground. In these patterns, the result of both natural and human circumstance, we see complexity; in the skyline we see a clean presentation of form. The texture of the earth contrasts with the smooth glass buildings and the endless patterning of the sky contrasts with the unitary totality of machines. An almost complete absence of visible text in the images helps us to focus our attention on shapes.

Cheung’s photographs are powerful because, beyond surveying, or describing, they suggest the seeming necessity of the present moment, which in his graceful compositions feels both inevitable and eternal. At the same time, they underscore the moment’s contingency—the feeling that the cultural features on display, functions of power, economics and globalization, look so specific, when seen in the context of the landscape that has made this wealth and power possible. Where nature cannot but look as it does, the built environment betrays human ambition in the way that it assumes its specific forms. The success of Cheung’s photographs is its evocation of the tension between these two imperatives.

Cheung describes a future UAE rolling out before us, shiny and seemingly perpetually new, or yet to be built. Each day the world changes a little bit, incrementally, and one day everything looks as though it’s always meant to look that way. This world is defined by its cultural material and physical infrastructure, the buildings and roads more long-lasting than the people who use and build them. The impossible-to-preserve newness of the construction contrasts with the geologic persistence of the landscape in which building takes place. The Edge suggests a dream that these cities might look like this forever, a world that has always only just realized itself, an eternal state of becoming, a destiny as undeniable as the presence of the coast from which these cities emerge.

Leo Hsu, December 2016
©Leo Hsu. All Rights Reserved.


Bio

Leo Hsu is a writer, researcher and photographer based in Toronto. He is a regular contributor to Fraction Magazine and holds a PhD in Anthropology and Certificate in Culture and Media from New York University..

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