This thesis critiques the aesthetic norms of contemporary
ruin photography, defining them as ‘neo-picturesque’, the picturesque all over
again. It explores what alternative photographic practices could emerge from
‘unconventional’ sites of ruination, ‘Rusty Rebels’, that lack affordances to
be easily aestheticised through the neo-picturesque.
After first establishing the aesthetic codes of the
neo-picturesque through an analysis of urban explorers’ photographs of
Millennium Mills, the thesis examines photographic fieldwork from two sites in
the Thames Estuary: the partially demolished ruins of Stambridge Mills and the
never-completed oil refinery at Canvey Wick. These sites frustrate the
neo-picturesque photographer, forcing alternative photographic methods, and
inviting different kinds of stories to be told. At Stambridge Mills, the thesis
shifts scales to tell stories about absent buildings through the photography of
demolition residues. At Canvey Wick, a ‘ruin in reverse’, temporal dislocation focusses
the storytelling on the pioneer plants that grow in this temporally suspended
landscape.
This thesis argues that engaging with ‘Rusty Rebels’ invites
the diversification of ruin photography practices, going beyond detached
spectation towards a more critical engagement with post-industrial ruination. Read the thesis