In 2008 I returned to London having spent the last nine years living and working in Eastern Europe and Turkey and was surprised by the speed of change that had taken place. I wanted to document the city, its movements and migrations, its landscape and architecture, its diversity and energy. I wanted to understand how so many people from all over the world manage to share the same space.
The double-decker bus allows me to frame the city, to give it sense. The lower level is very close to the street, where I’m almost touching the people in the traditional form of street photography. The upper deck allows me the distance to capture the layers of the urban landscape. Between these two positions everything shifts, along with the movement of the bus.
I was also fascinated by how people use public space in a big city, by that sense of shared invisibility. In sitting behind the window, I also became invisible but the bus also gives you the privilege to see and understand the emotional content of London’s everyday movements, rhythms and rituals.
The essence of the project is that you might take the same route everyday but what you see, the ebb and flow on the street takes on a random nature. To capture this flow, the concertina format reflects and mimics the feel of a bus journey, but more importantly it gives the viewer the opportunity to create their own journeys by spreading the book out and combining different images together. This moves the book away from an author-led linear narrative to one of multiple possibilities.
By supporting this book you will be giving space to another voice that considers the contemporary city in all its complex multicultural diversity, and through the many layers of its history.
"I've seen various iterations of the dummy, and each version has left me absolutely full of admiration for one of the best sequenced and edited books I've ever encountered." Johanna Neurath, Design Director at Thames and Hudson.
An early example of the concertina binding made by the printers. The new binding is even better and the front and back covers will be stuck directly on the paper, so no spine, like my dummy in the intro video. I will post an video of the new binding in updates.
A Chaotic Organism
“ Georgiou’s photographs propose seeing as a means to oppose the strictures of categorisation, and to be open in the face of a changeable and diverse world. Thus the work insists on seeing amidst the chaos of the disorderly organism of the city – seeing not merely through but with and alongside one another. Seeing, that is, in a moment when vision is chiefly deployed as a means to distance and to irrevocably contain. Seeing as a means of being together.”
From the afterword to Last Stop by Stanley Wolukau-Wanambwa
George Georgiou’s Tour of the Unfamiliar
"The anthropologist, the journalist, and (apparently) the travel writer seek, and if they are lucky find, explanations and solutions. But the artist may discover that every avenue of inquiry leads to another mystery, more complex and more interesting than the original question.
For Georgiou, these explorations often begin with curiosity about a place: its topography, geography, history, and culture, the ways its architecture and population reflect the friction between—and fusion of—the historic and modern."
By Francine Prose Aperture magazine Fall 2012
Installation shots from Seen/Unseen exhibition on London bus shelters.
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Risks and challenges
There are no risks to completing the book. I am asking for the part funding of the book and I will use my own savings to make up the rest.
The printers have already made a mock up of the binding, see above and it's very impressive, as is the book slipcase.
- (25 days)