The buildings which can give a cue about where we stand, are getting more and more monotonous. Regardless of the environmental conditions and human phenomena within different geographies in the world, similar buildings are rising. Consequently, landscapes of different cities are becoming more and more uniform to a degree where it is impossible to tell where that geography is.

Bas Princen's piece "Reservoir" comprises of city landscapes. In Princen's photos, there is a strange association between the buildings and the environment in which they are located. In his photographs, where the limits of intervention to landscape, earth and environment start and end, become vague. This is not a praise of the buildings or a reference to a harmony with their nature. On the contrary, it is a manifestation of how we do not pay any attention to natural environment, how we concede everything and how we take for granted what is happening around us.

Constructing his own narrative within the unexpected limits of photography by its very nature, Princen speaks about his practice process: "I mainly use the ability of the camera to exclude details of surroundings or the existing content. I focus on the element I am interested in and 'construct' its relation to the surrounding objects; I make a new content by excluding its real context."

Princen composes his photographs from spaces where transformation goes to the extreme point and can be observed evidently, or from dormant places where growing of a leaf is unobtrusive to the eye. He presents the phenomena of un-making of the city and nature (prosaic and monotonous) which comprises the content of his work.  

Landscapes are displays that we see looking out of our windows, therefore they belong to everyone of us. In this manner, there should be a consensus about planning what belongs to all. Unfortunately, what we see in landscapes are profit for some and these prosaic global imageries are multiplying without restraint.