I am preparing a follow up photographic project on the “Hollowed Community” scenes but first I wanted to explain what the original project was about. So I have reproduced the the introduction to my exhibition catalogue for the madeinroath festival here:-
My project explores the theme that the community of Brynmill in Swansea has become “hollowed” out by the proliferation of Houses of Multiple Occupation (HMOs), which house an ever burgeoning population of students attending Swansea University. HMOs in many streets constitute in excess of 50% of the houses. This ever increasing transient population has had a devastating effect on the sense of community in Brynmill.
Families and children living in the area has have dropped markedly since the increasing number of HMOs started to swamp Brynmill. This has had knock on effects for sustainability as families normally sustain communities with services and business catering for these families.
My project looks at the visible signs of this “hollowing of community” by looking at the time when students are not here, such as in the summer months. It is in this absence of students that I have attempted to catch this ghostly silence, this funereal quiet.
In streets suddenly empty, devoid of cars, elderly people suddenly appear on the streets, as if from hibernation and, most tellingly, the sparse number of children start to play in the streets and parks but so much fewer than before. It is as if the community is in a temporary mourning in this sudden quiet and the area looks more spacious, as it breathes out in the summer sun. This is I have painted, and documented, this lull before the next wave of erosion.
In this space I am reminded of those American realist painters who paint the quiet, the spacious and the still and revere a certain treatment of light and colour such as Edward Hopper, Jim Holland, John Register, Frank Hobbs as well as by Contemporary Minimalists such as Christopher Benson, Leah Giberson, Tom McKinley, Micthell, Johnson, Jessica Brilli and Emmett Kerrigan. I aim to bring an American sensibility to a Welsh urban landscape in my “urban minimal”* paintings, to contrast their sunny optimism with our cold reality.
Emma Cownie
- Urban Minimal
I wanted to capture this temporary calm of summer in paint. So I started to take lots of photos of the local area with an eye to using them for the basis of paintings.
My “rules” for composition and painting
No cars
No People
Bright light. There must be shadows – at diagonals if possible.
Simplified forms – there must be little detail in the final painting. I wanted to explore the interplay of the geometry of shadows and man-made structures – the tension between the 3D buildings and the 2D shadows. Simplified blocks of colour.
