I’ve come to photography just as I’d come to motherhood: a bit later in life than I otherwise might have planned. When I picked up a camera for the first time in decades, I felt most comfortable exploring landscape. I was particularly drawn to farmlands I’d witnessed undergoing repeated cycles of implantation, fecundity and harvest while I looked on season after season with a mixture of envy and hope.
Seeing Julia Fullerton-Batten’s work is like experiencing time come to a pause. Each of her images capture cinema’s scale and sweep, funnelled to a singular defining moment and given depth by an obsession with perfect detail. Her work conveys the intimate truth of its subject, its essence. None more so than in her latest project, Old Father Thames, in which the German artist became so engrossed that she joined a rowing club to feel closer to the river’s ebb and flow.