It is a bit spooky (but very serendipitous) that Wendy mentioned Marc Wilson in our last tutorial and then, in an entirely new and unrelated research thread, he came up in a search on Hauntology (my new fave thing). I didn’t really have chance to evaluate this before but it is a bit peculiar that there was something in my work, or coming from our discussions, that would bring to mind this series by Wilson. I’d made a note to research him but then parked it when my BoW hit a wall.
And then my contextual studies research led me to this fascinating interview:
Mark Aitken examines the relationship between photography and sound. This week we explore a hauntology of photography through the work of Marc Wilson who documents the memories and histories set in landscapes that surround us. Perhaps we are mistaken by suggesting that history repeats itself when in fact it never goes away. With music by Górecki, Leonard Bernstein and Johnny Cash.
Hauntology wasn’t really discussed much but it has been good to listen to Wilson’s ideas and find out more about how he approaches his practice. He clearly takes time to understand his surroundings, after painstaking research, and then aims to convey the personal feelings evoked in him. This requires discipline and bravery as telling a story in a traditional photo essay is so much easier and often feels like the best approach – and what is required somehow.
The Wounded Landscape project is labelled as WIP on Wilson’s website and the visual language is much more mixed than for the Last Stand. Presumably, that will change as the work is edited and final selections made for the book he is hoping to publish.
Rox Exley writes in the foreword for the book of the Last Stand  :
The narrow tonal range of The Last Stand emphasises that mellowness that has ultimately softened the edges of the menace they formerly possessed. Wilson achieved the paradoxical “dreamscape” atmospheres of these images by photographing the sites at dawn when not only the low angle of illumination from the sun, but also the presence of high atmospheric humidity, reduced any possibilities of brightness in the incident light around those scenes: the sense of limbo residing there, enhanced.
Wilson says of Wounded Landscape: “my hope is that it will act as a document and archive to help both preserve the memories and retell the ‘story’ of these times for a new generation. With passing generations, memories are fading, and perhaps today – with the current refugee crisis in Europe – this subject is ever more important.” 
The preamble to the Resonance FM interview links hauntology to the memories and histories that remain embedded in the landscape. For this project though, accompanying text is required to provide the context for what we are looking at. Without the images and those words, the significance of the sites could all but disappear. Maybe the true hauntology here is in the temporal disjunction that the beginnings of the horrors of the 1930s are being seen across the world again today.