(b. 1982) is a fine art photographer based in Joshua Tree, California, who explores conservation, climate change, consumption and waste. She invites viewers to engage with the practice of seeing, challenging not only what we see, but how we see. In Don’t Be a Square (2021-2023), she sets up site-specific interventions in the landscape – such as figures, curtains and even a juice bar – that disrupt the natural scenery. For Walter, the Anthropocene is a glitch in time and a fleeting moment yet one that has caused disproportionate havoc. Here, we learn more about about her location choices, the story behind her piece titled Juice Bar and how her work seeks to reunite viewers with their environments.
A: From lush foliage to desert expanses,ÌýDon’t Be aÌýSquareÌýfeaturesÌýa variety of landscapes. How did you select the locations for each shot?
MW: I initially started the project in Joshua Tree, California. I was seeking out landscapes that were at the forefront of climate discussions. The Joshua Tree itself is the first plantÌýspeciesÌýto gainÌýprotection close to that of anÌýendangered species,Ìýand so I wanted to come out here and experience not only how climate change has affected these trees but also the entire ecosystem. As the projectÌýexpanded,ÌýI travelled to other areas withÌývariousÌýecological concerns such as rising tides,Ìýflooding,Ìýdrought,Ìýand excess heat. The locations were selected based on this research as well as my access to them. Ìý
A:ÌýCould you tell us more about the pieceÌýJuice Bar?Ìý
MW: Whilst running one morning, IÌýnoticed that the mountains turn bright orange for about 5 minutesÌýat the momentÌýthe sunÌýfirstÌýrises in the morning. IÌýwas blown away by thisÌýand how they almost looked on fire.ÌýI chose the build a juice bar for that location because I wanted to relate to theÌýcoloursÌýas well asÌýbring an idea of commerce into the landscape.ÌýThis is somethingÌýwe are famous for doing as a human race. I had to shoot this image several times, but on one morning I set up in the dark waiting for the sun, and noticed I had an audience of coyotes. They sat and watched the whole performance which wasÌýreally beautiful. It was one of the only images I truly had an audience for.Ìý
A: Many of your projectsÌýexploreÌýthe natural world. In what ways has your approach to this themeÌýevolvedÌýover the years?
MW: My earlier work was more about consumer culture, whichÌýled to my interest in waste and plastics. As I spent more time learning about climate changes andÌýspecificÌýproblems,ÌýI became more interested in a fundamental disconnect that I see between people and the environment, a lot of which I think is influenced by technology and phone culture. I amÌýnowÌýmore focused on reuniting people with their environments through my images,ÌýbyÌýcreating a new sense of interest and joy. That seems more important to me than focusing on specificÌýdetrimental behaviours.Ìý
A: Can you describe how it feels being in the running for theÌýAestheticaÌýArt Prize?
MW: It feels very exciting that my images are seen,ÌýunderstoodÌýand appreciatedÌýin a way that matches my vision for them. Regardless of what happens, it is anÌýhonourÌýto be a finalist for this award, I couldn’t be more grateful. ÌýIt has helped meÌýbelieveÌýthat I am on the right track with my work.
A: What are you working on now?
MW: I am working on a new series called Sedimental,Ìýin which I amÌýfocusing on simple modifications of the landscape through subtle hand-made interventions. The slow degradation of environments is not always noticeable until it’s too late, and it is this subtlety that I am interested in. To create these works, I have been photographing micro sections of the landscape, printing them onto fabric, and then sewing them into outfits andÌýdrapery.ÌýÌýI then re-enter the landscape using my body cloaked in these prints, creating a new dialogue with the environment itself.
Walter will feature in the at York Art Gallery from 16 February – 21 April.
Want to get involved? The next edition of the Prize is open for entries. Submit your work by 31 August.ÌýWin £10,000, exhibition and publication.
Image Credits:
- Margeaux Walter, Backstage (2022). From the series Don’t Be a Square (2021-2023). Duratran C-Type print. Lightboxes. LEDs.
- Margeaux Walter, Juice Bar (2022). From the series Don’t Be a Square (2021-2023). Duratran C-Type print. Lightboxes. LEDs.
- Margeaux Walter, Rise and Shine (2022). From the series Don’t Be a Square (2021-2023. Duratran C-Type print. Lightboxes. LEDs.
