PHOTOGRAPHY BY LAURA SALA
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  • Urbex
    • Old Saint Nicholas Coal Breaker | Gilberton, Pennsylvania
    • Essex County Jail | Newark, New Jersey
    • Marine Stadium | Key Biscayne, Florida
    • Underwood Motel | Starke, Florida
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  • Home
  • About
    • Biography
    • Curriculum Vitae
  • Projects
    • Back to Basics >
      • Laotians
    • Formulaic >
      • Society
      • Displaced
      • Indecisive Moment
    • Abandoned >
      • Childhood
      • Outlook
      • Solitude
    • Transient Projections
    • Bodies Abstract
    • HDR Projects >
      • Spanish Monastery
    • HDR
    • Miami Tunnel
  • Travels
    • Argentina >
      • Bariloche, Argentina
      • Iguazu, Argentina
      • Protests in Buenos Aires
    • Brazil
    • Cambodia >
      • Siem Reap | Angkor
      • Sihanoukville
    • Colombia
    • Costa Rica
    • Cuba >
      • Havana
      • Trinidad
      • Varadero
      • Viñales
    • Ecuador
    • Egypt
    • France
    • Hong Kong
    • Iceland
    • India
    • Jamaica
    • Israel
    • Jordan
    • Kenya >
      • Lake Nakuru
      • Malindi
      • Massai Mara
      • Mombasa
      • Nairobi
      • Nairobi National Park
      • Thika, Fourteen Falls
    • Laos
    • Myanmar
    • Puerto Rico
    • Thailand >
      • Ayutthaya
      • Bangkok
      • Chiang Mai
      • Chinatown (Bangkok)
      • Bankrut
      • Ko Samui
      • Thai Protests
      • Trang
    • United States >
      • Colorado >
        • Ashcroft
      • Los Angeles
      • Puerto Rico
      • Misc
  • Urbex
    • Old Saint Nicholas Coal Breaker | Gilberton, Pennsylvania
    • Essex County Jail | Newark, New Jersey
    • Marine Stadium | Key Biscayne, Florida
    • Underwood Motel | Starke, Florida
  • Commercial
  • Motion Pictures!
  • Show me More!
    • Biography
    • Curriculum Vitae
    • Degrees
    • Contact
    • For Show !
    • Links



The photographs on this site explore the ephemeral lives we live and the dichotomies that develop between the human form and the spaces we occupy. 
By switching the roles between objects and people and objectifying the human form through scale and placement, the relationship we have with our surroundings can then be further scrutinized. How much do we affect our surroundings, and how much do our surroundings affect us? 


Do subdued, standardized settings, result in unconcerned formulaic societies?

Beginning with untouched, simplistic landscapes and nude forms, the photographs parallel a timeline of societal evolution as the home is introduced and social institutions, such as schools, power plants, the work place, and factories begin to change the environment we inhabit and the people we become. As urbanization continues, we transgress bounds of usage, and we begin to see abandoned homes, abandoned motels and a sense of personal abandonment that endorses a loss of individualism: replacing subjectivity with standardized complacency.

In the end are these just transient projections or an omen to our future?


Laura Carolina Sala