Brock Faulkner: Endless City, Vol. I
Brock Faulkner: Endless City, Vol. I
2023
Brock Faulkners’ latest series, Endless City, is a haunting meditation on urban sprawl and solitude. Shot entirely in black and white, the photographs strip away distraction to reveal the stark poetry of the built environment. Faulkners captures the city not as a place of movement, but as a space of stillness. His lens lingers on empty intersections, shadowed stairwells, and distant silhouettes. The series spans multiple cities but feels unified by tone and texture. Each image is a study in contrast—light against concrete, motion against silence. Faulkners’ compositions are precise, yet emotionally resonant. In Underpass No. 7, a single figure walks beneath a looming structure, dwarfed by scale and shadow. Window Grid turns a mundane office facade into a rhythmic abstraction. The absence of color amplifies the emotional weight of each frame.
Faulkners is less interested in documenting cities than in distilling their essence. His work evokes a sense of timelessness, as if the city has paused to be seen. The series was shot over two years, using analog cameras and natural light. Faulkners often waits hours for the right moment—a shadow to fall, a passerby to disappear. Endless City is not about landmarks; it’s about atmosphere. The photographs invite viewers to reflect on isolation, architecture, and the quiet drama of urban life. Critics have called the series “elegiac,” “cinematic,” and “deeply human.” Faulkners cites influences ranging from Japanese street photography to Brutalist architecture. His images are both documentary and dreamlike. The series will be exhibited at the Agnes Keller Gallery this fall. Faulkners hopes the work encourages viewers to see their own cities differently. “I want people to notice the silence,” he says, “and the beauty in what we overlook.” Endless City is a powerful continuation of Faulkners’ exploration of urban emotion. It’s a love letter to the city—and a quiet reckoning with its scale.
Faulkners is less interested in documenting cities than in distilling their essence. His work evokes a sense of timelessness, as if the city has paused to be seen. The series was shot over two years, using analog cameras and natural light. Faulkners often waits hours for the right moment—a shadow to fall, a passerby to disappear. Endless City is not about landmarks; it’s about atmosphere. The photographs invite viewers to reflect on isolation, architecture, and the quiet drama of urban life. Critics have called the series “elegiac,” “cinematic,” and “deeply human.” Faulkners cites influences ranging from Japanese street photography to Brutalist architecture. His images are both documentary and dreamlike. The series will be exhibited at the Agnes Keller Gallery this fall. Faulkners hopes the work encourages viewers to see their own cities differently. “I want people to notice the silence,” he says, “and the beauty in what we overlook.” Endless City is a powerful continuation of Faulkners’ exploration of urban emotion. It’s a love letter to the city—and a quiet reckoning with its scale.
Brock Faulkners
(1977)
