It’s probably an exclusively human reaction to the strangeness of a place that once bustled with sounds, energy and life. An emotional response to a dead space that once nurtured its occupants until one day they left for the last time. I doubt that pigeons (for example) feel the same when squeezing in through a broken window, their indifference to a building’s history in stark contrast to the fascination that some (humans) foster.

These photos were taken in a midlands (UK) multi-storey car park. Not derelict, it was very much open for business, but all that decaying concrete and flat fluorescent lighting evoked a similar emotion. There’s something horrendous about concrete car parks. They’re like the end of the world, devoid of anything that remotely resembles life. Like Dr. Who meets Mark Rothko meets 2001 Space Odyssey and Alien. Fascinatingly alluring, yet eerily sinister.

 

Image 2 of the four shares similarities with some of Rothko’s paintings. It was back in October 2012 that Vladimir Umanets (cofounder of a movement called Yellowism) entered Tate Modern and wrote the words “Vladimir Umanets, A Potential Piece of Yellowism” on one of Rothko’s Seagram murals. Umanets was quoted as saying

“Art allows us to take what someone’s done and put a new message on it.”

Is it OK to ‘add to’ an artist’s work in this way?

The Yellowism website can be found here.

Finally, historian Simon Schama’s television series ‘The Power of Art’ detailed Rothko’s work. The link below features Schama’s poignant summing up of his critique. If you don’t have time to watch it all, fast-forward to 3:06 and play form there.