Exhibitions 2010
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'Mind The Gap' by Philip Lawrence (QLD)
Mind The Gap
Philip Lawrence
Artist Statement
MIND THE GAP is a series of sub-subterranean, urban landscapes, taken in the London Underground or The Tube. The London Tube is the third busiest underground railway in the world, moving more than one million commuters through its stations daily. However, my images capture the underground platforms, stairwells and connecting spaces when devoid of people.
It is not difficult to understand how the term “TUBE” developed. In addition to the railway tunnels, many of the underground spaces have curved or cylindrical surfaces that create a feeling of haste to expedite the movement of commuters around the tube as smoothly as possible. The camera allows the viewer to observe this and sense the urgency generated by sweeping lines of coloured tiles, garish fluorescent lighting, curved handrails and flights of stairs.
The Tube is no place for the disabled, nor for those who want to socialite or read a book. No seats are provided except those on platforms; no drinking fountains or shops are provided to slow the rapid and ceaseless flow of commuters.
The camera records empty spaces that are seemingly abandoned. This promotes a feeling of unease akin to claustrophobia. What if the wrong corridor is taken? What happens if the lights fail? How will I escape if a terrorist strikes?
Each space is like a theatrical set or stage, waiting for the cast to re-appear and commence the next act. My images re-enforce the surreal nature of each space by emphasizing lighting and shadows, the decor and the dirty, worn surfaces normally unnoticed by commuters.
Philip Lawrence
Artist Statement
MIND THE GAP is a series of sub-subterranean, urban landscapes, taken in the London Underground or The Tube. The London Tube is the third busiest underground railway in the world, moving more than one million commuters through its stations daily. However, my images capture the underground platforms, stairwells and connecting spaces when devoid of people.
It is not difficult to understand how the term “TUBE” developed. In addition to the railway tunnels, many of the underground spaces have curved or cylindrical surfaces that create a feeling of haste to expedite the movement of commuters around the tube as smoothly as possible. The camera allows the viewer to observe this and sense the urgency generated by sweeping lines of coloured tiles, garish fluorescent lighting, curved handrails and flights of stairs.
The Tube is no place for the disabled, nor for those who want to socialite or read a book. No seats are provided except those on platforms; no drinking fountains or shops are provided to slow the rapid and ceaseless flow of commuters.
The camera records empty spaces that are seemingly abandoned. This promotes a feeling of unease akin to claustrophobia. What if the wrong corridor is taken? What happens if the lights fail? How will I escape if a terrorist strikes?
Each space is like a theatrical set or stage, waiting for the cast to re-appear and commence the next act. My images re-enforce the surreal nature of each space by emphasizing lighting and shadows, the decor and the dirty, worn surfaces normally unnoticed by commuters.
