Art

Digital

Sculpture

Collage

London

Travel

Modelmaking

New York City

Architecture

Photography

Artist

Nick Sellek, High Rise City No. 12
Nick Sellek, High Rise City No. 10
Nick Sellek, High Rise City No. 13
Nick Sellek, High Rise City No. 11
Nick Sellek, High Rise City No. 09
Nick Sellek, High Rise City No. 08
Nick Sellek, High Rise City No. 06

High Rise

Digital C-Prints
2009 - 2012

The 'High-Rise' series are photographs of models depicting an anti-utopian urban environment, assembled from distorted elements of residential and industrial architecture and structures found in the cityscapes of London and New York.

They portray a run-down and badly maintained collection of structures that are slightly contrived and unusual, but still perfectly possible in today's urban scene. Unfinished construction sites and decaying socialist council flats both displaying their internal networks of inter connecting balconies and open walk ways and staircases. The monumental bridges create undesirable underworlds and the elevated motorways crammed in next to residential neighborhoods show that quality of life and personal space had been overridden with the need for development. A transient history of a bustling and fast paced home to industry and commerce and a dense, over crowded population, now seemingly void of human habitation, possibly due to decline, disintegration or abandonment.

Although the subject is bleak, I don't necessarily want the focus to be negative or political, instead I want the landscapes to show an exciting playground for exploration, and the discovery of remains and traces, without law or restriction.

Not being satisfied with just the format of a photograph, 'High-Rise' is a physical constructive process of carefully selected buildings from an environment that I interact with everyday. The exploration at this manageable scale is a way of adjusting and familiarising myself with an environment, placing together components piece by piece developing a physical cityscape that I can relate to.

This series of work is displayed as photographs, but the reality of the three-dimensional model and it's cardboard edges and joins are left deliberately unaltered with the intention of being discovered on close inspection by the viewer.