Paulo Catrica’s SUBTOPIA proposes to build a cognitive map on the contemporary condition of the New Towns in the United Kingdom.
Assuming a descriptive mood the photographs endorse landscape as a cultural construction. They look into urbanism and architecture as ideological epitomes, seen through the organization of public spaces.
Operating as visual fragments of a non-existent whole,Subtopia intents to create an imaginary new town by assembling photographs from five different towns, chosen according to the different historical and political phases of the New Towns program:
Stevenage (1946), Harlow (1947), Cumbernauld (1955) Runcorn (1964) and Milton Keynes (1967).
Reclaiming an allegorical condition, as palimpsests, the photographs trace other layers beneath the image surface. They affirm their arbitrariness and contingency, refusing any intention to impose a unitary vision upon the subject.
In their subjective task they aim to further another possibility to quest the significance of suburban space In post-war British culture and ‘collective memory’.

Supervisors: Professor Mitra Tabrizian and David Bate

65 photographs in variable print sizes.
* 10 photographs framed 85 x 100 cms. aprox.
* 55 x image size 21x26cms display on tables