When I was a kid I had an object called Kaleidoscope. I would hold it against the light and I would turn it allowing the colourful materials inside it to create all kind of geometric patterns in sequence. The images in Metropole remind me of my Kaleidoscope. Even though the images are black and white and the sand has been replaced by steel and armé beton, the feeling of these patterns overcoming my visual field is the same. Full page, double exposed, strong contrast night views make up the first part of this new book by Lewis Bush. A grey expressionistic reality; a sombre future for London. The book is about real-estate development and all it evolves in this Metropole.

© Lewis Bush from the series 'Metropole'

On this first part of his book, Bush has made double exposed images of construction in areas around London, exploring power, wealth, through modern architectural culture. The images shine in the night time as beacons of development, breathing power, certainty, wealth; an oppressive power which is ready to swallow all who are not equipped to be part of it. In a city of extreme class divides, people burn alive, not so long ago, while others accumulate wealth, innumerable housing areas are left empty, “the property of absentee speculators” as the author says in his introduction. The images are visually strong, bringing to mind Fritz Lang’s iconic film Metropolis. I would dare to say that the images are really beautiful, while the reality behind them is so ugly; some kind of innuendo from the author!

© Still from the film 'Metropolis' by Fritz Lang, 1927

The second part of the book is a selection of images taken from publicity billboards advertising the projects and the good life in them. Accompanied by information on the building itself, year of construction, housing possibilities, architects, developing companies, profits; the hard truth is revealed. Part of the city’s history is destroyed on an altar of development and London is losing significant parts of its architectural past. All these references bring to mind Guy Debord’s and his essay ‘Introduction à une critique de la géographie urbaine’, published in Les lèvres nues no6, Brussels, 1955 : «La psychogéographie se proposerait l’étude des lois exactes, et des effets précis du milieu géographique, consciemment aménagé ou non, agissant directement sur le comportement affectif des individus. L’adjectif psychogéographique, conservant un assez plaisant vague, peut donc s’appliquer aux données établies par ce genre d’investigation, aux résultats de leur influence sur les sentiments humains, et même plus généralement à toute situation ou toute conduite qui paraissent relever du même esprit de découverte. » Exactly the reflection on the relationship of the individual with the cityscape, which Bush so eloquently evokes in the introduction of the book. Questions on the preservation of architectural heritage are raised, along with questions on political choices. Construction provides a false sentiment of development, shows the economy is thriving and attracts potential investors. I guess London is looking for a new identity far from its imperialistic past and well into a new capitalistic globalised world.

© Lewis Bush from the series 'Metropole'

© Still image of the book 'Metropole'

© Still image of the book 'Metropole'

© Still image of the book 'Metropole'

© Still image of the book 'Metropole'

© Lewis Bush from the series 'Metropole'

© Still image of the book 'Metropole'

© Lewis Bush from the series 'Metropole'

© Lewis Bush from the series 'Metropole'

Some facts on the book: The book is published by Overlapse, soft cover, 160 pages with 60 double exposed images by the author and 28 images of billboards, accompanied by the text with information on them. It also contains 12 leaflets of images with a combination of publicity images and real images of the constructions. The first part is printed on Lessebo White paper of 130 grams and the second part with the images of billboards is printed on 100% recycled paper Cyclus offset, 80 grams. The book comes in 600 copies and it was printed in Lithuania. Lewis Bush collaborated with Tom Mrazauskas, Raimundas Austinskas, Joe Staines and Ludwig Übele. You can order a copy through the Overlapse site, or through the author’s site.

---

LINKS
Lewis Bush
Review of the book 'Shadow of the State'
Urbanautica England