Website: Research Symposium Fault Lines Ongoing Project It is well known that globally we produce a huge amount of garbage but we also generate an enormous amount of image garbage. Every day millions of photographic images are being produced, shared, ignored, discarded and forgotten. The photographic image exists in a state of continual flux. through our increasing deployment of multiple captures, bursts, post-production edits, and our prolific sharing. Currently, it's often not about what we take pictures of, but about the act of taking pictures. Katrin Korfmann's research project centres on the photographic image as waste. Through ‘Wastescapes’, she asks how visual, conceptual and technical aspects of her work as a photographer can be used to critically reflect on the Wasteocene. Her research takes her into the field, to visit numerous waste processing plants, but also deeper into her own practice and her studio, where she experiments with artistic methods to generate other forms of the photographic image, through the juxtaposition and entanglement of waste processing procedures and variants of image production, editing and manifestation.

Website: Research Symposium Fault Lines Ongoing Project It is well known that globally we produce a huge amount of garbage but we also generate an enormous amount of image garbage. Every day millions of photographic images are being produced, shared, ignored, discarded and forgotten. The photographic image exists in a state of continual flux. through our increasing deployment of multiple captures, bursts, post-production edits, and our prolific sharing. Currently, it's often not about what we take pictures of, but about the act of taking pictures. Katrin Korfmann's research project centres on the photographic image as waste. Through ‘Wastescapes’, she asks how visual, conceptual and technical aspects of her work as a photographer can be used to critically reflect on the Wasteocene. Her research takes her into the field, to visit numerous waste processing plants, but also deeper into her own practice and her studio, where she experiments with artistic methods to generate other forms of the photographic image, through the juxtaposition and entanglement of waste processing procedures and variants of image production, editing and manifestation.