Sainte-Marguerite-sur-mer, Upper Normandy, France. 2012 - Limited Edition 10 of 75 Photograph

Born in London, 1968. Now living in Bath, England. Marc Wilson’s photography documents the memories and histories that are set in the landscapes that surround us. His most recent work,‘The Last Stand’, was researched and photographed over a four year period. It looks at some of the remaining Second World War military coastal defences around the coastlines of Northern Europe, from Norway to the Franco Spanish border and The Northern Isles of the UK. The work was one of the award winners at The Terry O’Neill award in 2013 and was published as a book in late 2014. It has sold out of its 1st edition by early 2015 and a 2nd edition has now been published. His current work in progress, 'A wounded landscape', being made over the next 3 years, is based around the Holocaust, with locations in over 20 different countries throughout Europe. Solo exhibitions include those at The Royal Armouries Museum, Focalpoint Gallery and The Anise Gallery, London.Group shows include those at The Photographers Gallery and the Association of Photographers gallery, London and the Athens PhotoFestival, 2015. His work has been published in journals and magazines ranging fromThe British Journal of Photography and Raw Magazine to Wired and Dezeen. “It's large format work and it's quite beautiful (Paul Virilio's BunkerArchaeology may be the most recognised photography of sea defences but that's a different kind of book) . Everything is shot in subdued diffused light, the pre-dawn it looks like much of the time, and the way in which the different defences merge and crumble into the landscape of which they are now part…. The Last Stand is as multi layeredas the landscapes which it features; there's historical detail wrapped folded over into a chronotopia of functional brutalism, mixed with local touches that feeds into the geological, panoramic and tactical. All the boxes are ticked in Robert Adams traditional landscape list: there's geography, autobiography, and metaphor. But on top of that, Wilson gives us a politicised view of landscape and power that ties back to survey photography of Timothy O'Sullivan and the work of Mitch Epstein. Layered into that is an Arcadian vision. With its focus on Northern Europe it's a dystopian Arcadia; there is a pagan feel to Wilson's pictures, a syncretic vision where geology, flora, climate and war find a single expression. And it's beautiful.” - Colin Pantell