Photographer Marietta Varga shines a light on the playful side of London’s Brutalist landmarks in her project Raw Hill.
‘If people were asked to associate a human character with Brutalist buildings, many of them would think of a massive giant,’ she says. ‘By introducing the colours and shapes of childhood I wanted to reflect the exact opposite.’
Two characters, dressed in turquoise and pink costumes, roam between the concrete curves of Denys Lasdun’s National Theatre, the Barbican Estate by Chamberlin, Powell & Bon Architects and Neave Brown’s Alexandra Road Estate in the series. The pair adopt symmetrical and symbolic postures that take them from staircases to flagged floors across the city.
‘I tried to show a contrast between the harshness and monumental nature of Brutalism with the purity that I discovered within,’ says Varga.
With their pastel hues, the images recall the work of filmmakers like Wes Anderson, famed for his exquisite colour palettes and perfectly balanced framing. Varga demurs: ‘I admire the work of Anderson but it didn’t consciously inspire me. However, I love precision and neatness in photography and cinematography; symmetry and orderliness always make me fulfilled.’
The images underline the softer side of Brutalism, honing in its curves, and fabric-like textures and patterns.
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