The artwork of Swiss artist Julian Charriere seems on the one hand to be part land art performance and part sculpture, weaving anthropology, ecology, history, politics and art together to form a narrative based on what humans have done or are doing in certain places, creating a portrait of the earth of sorts. He also has a penchant for travel to exotic locations, in a way retracing footsteps of early explorers, to re-interpret their findings within the contemporary situation.
One such location at Semipalatinsk, Kazakhstan which was the Soviet test site for nuclear bombs during the cold war between 1949 and 1989, produced the Polygon series of photographs. Inspired by J.G. Ballard’s short story, The Terminal Beach, the Polygon photographs depict a flat, tree-less field with fragments of left over concrete ‘geese’ buildings used to collect bomb blast data, standing upright in juxtaposition to the horizontality of the land. Here, Charriere would sprinkle radioactive dust onto the film stock (somehow), let sit for a while, and then develop it again, resulting in photographs sprinkled with ‘specks’ of radiation.