The place do jets go once they not fly? What occurs to transport containers once they aren’t helpful anymore for cargo? The reply is invisible to most of us, however for Cássio Vasconcellos, deserted trains, planes, and vehicles are removed from forgotten.
For greater than 4 many years, the São Paolo-based artist has been fascinated by the connection between people and the panorama. Over time, his work has captured dramatic impressions of sprawling cities across the globe, usually from the air, spurring an ongoing sequence referred to as Collectives that condenses particulars of city infrastructure like highways and parking heaps into sprawling, all-over compositions.
Collectives 2, to which these photos belong, focuses solely on the mesmerizing—and mind-boggling—amount of scrapped automobiles and steel indefinitely parked in nondescript locations. Vasconcellos attracts from tens of 1000’s of aerial images he has manufactured from junkyards, scrap heaps, airplane graveyards, and dumps to create outstanding, large-scale composite photos.
The artist has mapped all the junkyards round São Paolo, plus quite a few extra close to the Brazilian cities of Cubatão, Santos, and Rio de Janeiro. He has additionally documented desert landscapes within the U.S. that function remaining resting locations for business airliners and navy jets.
“Over,” for instance, considers quite a few related meanings, like “overview,” “all-over,” “overdose,” or “game over.” The title references not solely extra however the overflow of visible data in up to date society.
“Seeing an image like this is to make clear that there is no ‘throw away,’” Vasconcellos says in a video about “OVER,” which took him a couple of yr and three months to finish. “This volume of things that are in the work… they are out there,” he provides. “I just put them together.”
“These photos may look like post-apocalyptic scenarios, but they could be our future,” the artist says in a press release. “We still have to learn that by throwing things away and taking them out of our sight, we don’t make them
disappear. In fact, they keep existing somewhere else, outliving us most
of the time.”
Vasconcellos cuts out particular person transport containers, vans, dumpsters, and piles of detritus in a meticulous and time-consuming digital course of. He by no means repeats a component in a composition, and every bit is scaled and located in order that the shadows align with the directionality of the sunshine. He then provides mud and dust to the surfaces, concurrently emphasizing the patina of time and an eerie sense of timelessness.
Devoid of individuals, Vasconcellos’s photos nonetheless describe the human predilection to provide, devour, and solid apart. “It’s kind of nonsense, because there are some paths, but you don’t really understand how a person or a car can get in there—or get out,” Vasconcellos says. “It is a possible world, but at the same time, an absurd one.”
Vasconcellos is represented by Nara Roesler Gallery, and you’ll discover extra of his work on his web site and Instagram.
