We are excited to be working with photographer Marco Kesseler on a new commission which will see him create new work about the hidden landscape where our food is produced and the seasonal staff that work tirelessly to harvest it.
The photographer is interested in the fact that these spaces often seem so far removed from the sterile environment of the supermarkets where the produce is on sale. He is interested in exploring how we are becoming increasingly disconnected from the process of growing crops and the hidden landscapes they inhabit – a microcosm full of life both above and below the surface.
As we approach the 31st October deadline for Brexit and with 99% of seasonal farm workers coming from the EU (just 0.6% from the UK) there has been a significant shortfall in workers. Recent statistics show farms are understaffed by approximately 20% which asks the questions: How will agriculture be affected and who will pick our food after Brexit?
Kesseler will collaborate with communities across the agricultural industry in the Midlands, in Worcestershire and Herefordshire, which include a major supermarket supplier. His research will include the wider diverse Midlands landscape which provides opportunities for a wide range of production – from hops to wine, potatoes to asparagus and many varieties of fruit.
Marco Kesseler is a photographer based in the UK, with an interest in the role of narrative, studying both fact and fiction, as a reference point in representing contemporary social stories. Working with communities over an extended period of time, previous works have documented the socio-political effects of the Ukrainian revolution; living in hiding with Albanian families persecuted in the age old traditions of blood feuds, as well as celebratory traditions in Greece.
Past exhibited works have been included in The Taylor Wessing Portrait Prize, Paris Photo, PhotoIreland Festival, The Renaissance Photography Prize and The Sony World Photography Awards and clients include The FT Weekend Magazine, The New York Times, TIME and The British Journal of Photography.