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Q&A: Dillon Marsh

What inspired you to start your Landmarks project? I’ve always been fascinated by how certain features in a landscape can reveal curious details of the relationship between humans and the environment. Although these features often remain hidden in the margins of our day-to-day existence, by focusing on them I feel I am able to highlight some unusual patterns and characteristics. You’re well known for your ‘Assimilation’ Sociable Weaver nest series. Which of your projects have you enjoyed working on most? I can’t think of one specific project that stands out above the rest. I still have a strong child-like enthusiasm for exploring and discovering new things, and I get that feeling with each new project. I particularly enjoy the projects that give me an excuse to travel further afield and explore less familiar locations. Your photographs have been showcased in Portugal, Switzerland and the Netherlands, as well as across South Africa. What does this mean to you as a photographer? Exposure is of course key to developing a successful career as an artist, and I appreciate all opportunities to showcase my work. On a more personal level, I am simply grateful that my work is appealing enough to be considered for such exhibitions. Tell us more about ‘Common Ground’, your latest series of photographs. I travelled to Gaborone to document the occurrence of giant termite mounds within the city. These mounds dot the urban landscape, some rising up as high as the houses that surround them, and often engulfing nearby trees and smaller man-made structures. I really like how in this situation it is nature that is imposing itself on a human environment, whereas it is usually the other way around. You’re currently working on a new series. What can we expect to see from this project? I am currently working on a number of projects in various stages of completion. I can’t give too many details before the projects are more refined, but I am exploring themes like singular trees and land reclaimed from the sea. For more information and to view more of Dillon's work, visit Interviewed by Lindi Brownell Meiring