We have a clean green image as a country, and a lot of old wrecks in this greenness. It is an environmental issue we only get away with because of the great ratio of land to people. While not loosing sight of this truth, Kirsch’s work goes on to discover the less obvious bounty of incredible beauty held in these rejected vehicles, and their amazing, out-of-context positioning.

Though not intentional, Kirsch’s viewpoint could be attributed to Wabi-Sabi, a sophisticated, long established Japanese aesthetic celebrating transience and impernanence. It contrasts the homogenised environments informed by our Western ‘Modernist’ aesthetic, which generally denies that everything is relative and transient. In a sense, we cannot hold on to anything for ever. Everything is in constant change and it is illusionary to assume we could ever control it.

This truth becomes apparent in many natural conditions, and especially with abandoned Western design objects that are introduced to a natural environment and no longer maintained. As we can still recognise the contrasting modernist approach, dissolution becomes very obvious in this context. Being able to see this truth touches on our spiritual aspect of being human, and among other things it is this quality which becomes apparent in Kirsch's work. read on read on