LAURA PANNACK, SHORTLISTED 3RD BIENNIAL’S GRANT
A vast wasteland stands between the two estates. ‘Tibby’ ; it’s cul de sac of residential
houses that curls around a small playground. Kids push prams with their hands above their
heads or zip past on bikes.
Through a narrow alleyway you enter the Cracker ;rolling grass lined with blackberries and
stinging nettles. Motorbikes, peds and quads bark loudly everyday and at all times. The boys
race them until they burn out, perfecting the art of the wheelie. Horses are usually kept
in the back gardens or local stables and are just as popular.
The girls nestle around small fires despite the baking summer sun. On my second trip I
discovered an entirely black Cracker, sporting the occasional patch of grass that had escaped
On the adjacent side lies ‘The Lost City Estate’. Most of the boys meet at Jack Barrett’s bars
(a metal fence that lies to the opening of the field). They perch and exchange stories,
cigarettes and zoots alight referring to each other affectionately as ‘Mush’
I ‘m drawn to this area for it’s tight knit community ; everyone knows each other. The name
‘The Lost City’ derives from an obvious observation. With no entertainment and a lack of role
models these young people do feel lost. The police battle against them. I want to
explore the friendships, the unique language and tradition of the area and the characters that
for me; should not be lost or ignored. "
Youth Without Age and Life Without Death
“Youth Without Age and Life Without Death” was written by Petre
Ispirescu. The overarching argument is a common but affirming one: life
outside of linear time, and thus agelessness, is impossible. And if there is to
be any remote possibility, it is only a form of momentary independence that
is offered before the inevitable occurs – meeting one’s death like any
This project is a response to my need to escape, adventure and roam in
reaction to internal pressure I feel that time is moving too fast. It seems like
a shared experience that hours, days and weeks pass and we can’t recall
them, life continues and time slips away.
My adventure began in Romania. The strong sense of timelessness, tradition
and untouched scenery mirrored my desire to stop time.
I soon stumbled across this folktale which perfectly echoes the many
questions that I have.
This is a photographic exploration of the people, places and landscapes I
encountered in Romania, drawing directly on this famous mythology and a
sense of a temporal placeto offer a view on the fragility of life.
Alternating between reality and fantasy, the photographs respond to a
feeling of separation from the modern world. I have intentionally played
with the notion of fiction and the present moment.
Like a web of nostalgia and resistance, all the signs of temporality come to
bear in objects that are charged with tensions of permanence and
impermanence. Time elsewhere is relentless but here something of it is left