End Of Lines
I moved to Shanghai in July 2013, twenty years after Shanghai opened it’s first metro station. Today, the Shanghai Metro is now the world’s longest underground transit system. The 16 metro lines transport an average of 8 million people daily. Twenty years ago, line 1 handled just 1.1 million riders in the whole year.
Fascinated by how this development has dramatically changed the city’s social, economic and geographical structure, I decided to explore the landscapes and the lives around every terminal station. Terminal stations that had become landmarks of the rapidly expanding city limits. I visited each once, spending a morning or afternoon documenting my brief encounter. The images were taken in my initial two months in Shanghai, during the hottest summer the city had experienced in 140 years.
Hingley provides us with a both factual and personal document of text on the her project. I find the short but informative paragraphs is affective, as the photographs dont present a direct narrative without having the accompanying text with them. We are told why she documented this, which I find unusual to post onto the project itself, but I find it particularly useful on this project.
I find the contrast between past and present striking in the frames. Hingley does no job covering up how the lines have affected the nature in Shanghai through the images, presented in the one above, in which the young girl stands between what was before, the flourishing greens, and the cold brick wall and wall house that stand over her. Interestingly, the plane has been kept in the sky, to further contrast between the development of transport has affected the lifes of the locals.
I have a great appreciation for how the people make the frame in the images, instead of being the frame. They become part of the landscape, interacting with the gentle areas of land they still have. The use of children presents how they will grow with the transport, whilst the land is shown as still, almost as the land controls who they are. Though all the people in the frames look happy, which could suggest the benefits for the people and not the landscape.
The subtle nature of the images allows the reader to indulge in to the frames, extracting their own opinions instead of forcing opinionated facts on to the viewer. I feel the project works very well as a narrative as the 36 images creates a light piece of work that presents different areas, and emotions. All the images flow, with a generic colour scheme and nothing too out-going, just natural, candid shots.