These photographs were taken between 1981 and 1988 in ‘The Black Country’ a part of England that was famous for making things from metal.
Changes occurred in the early 1980s that hit metal manufacturing particularly hard. A record number of bankruptcies resulted in high levels of unemployment. Factories either closed completely or realigned their business model to warehousing and retailing components that had been manufactured overseas. Foundries, forges and steelworks - not easily transformed into industrial units or office space - quickly morphed into housing estates, enterprise zones or retail parks.
The change was rapid and irreversible. A landscape that had been formed by the Industrial Revolution disappeared.
I can’t remember why I took the photographs initially. Clearly the distress, upheaval and economic chaos of the early 1980s was sufficient in itself - but it has only been recently that I have begun to realise that in their modest and incomplete way these photographs capture one of the major changes to British landscape and society in the last half of the twentieth century: the end of manufacturing and the emergence of the world of warehousing, logistics, retailing and tarmac.
Size 250 x 285 mm
Extent 164 pages
Edition Limited to 450 copies, each including a signed 5x4" silver-gelatin print
Including Numbers 1-50 also include a signed and limited 10x8" silver-gelatin print
Edition of 8 copies with a portfolio of 9.5x12" silver-gelatin prints, also include the signed and limited 10x8" and signed 5x4" printRRP
£75 | £225 with print | Portfolio Edition price upon request
“We pass by these totems, each day, in our quest for the exciting and the novel, and ignore the works that tell most unexpectedly of the conditions of modern life” - John Taylor, 1979
“Many of Myers’ images also bespeak his fascination, inspired by Cubism, with the shallow ‘box lid’ of space between the foreground and the depths of the image. The Sub Stations are dropped like monoliths into this space. Neither distant enough to merge with the landscape, nor close enough to allow detailed scrutiny, they inhabit the middle ground like cumbersome Minimalist sculptures.” – Eugenie Shinkle
I look at them and see the 70's my body remembers" - Grayson Perry
“the ‘Landscapes without Incident, are as empty as the title promises. But it is not entirely a pure emptiness, for all the pictures show spaces about to be occupied or quitted” – Ian Jeffrey