TITLE: Prairie Ghost Town

This photograph was made in an abandoned prairie town in Saskatchewan. What remains is a glimpse of a moment interrupted and never got to resume.

I am drawn to places like this, locations that once held pupose and identity, but no longer do. They exist in a kind of inbetween state, not fully gone, but no longer what they were. Theres a quiet tension in that, something unresolved. Spending time in these spaces feels familiar to me, I can connect to them not just visually, but personally. There have been periods in my own life where identity felt unstable, where I existed in that same undefined territory, no longer who I was, not yet something new. These landscapes reflect that condition back to me.

The prairies carry a particular kind of silence, it isnt empty, but it isnt comforting either. It holds space without offering direction, in that stillness, I can find both distance and clarity.

This image holds a moment of quiet recognition, where the boundary between landscape and self can become less distinct. The place may be abandoned, but in standing there, looking, it can become something else entirely, something shared.

AUTHOR: chad coombs (Canada)

Chad Coombs is a multidisciplinary artist working across photography, collage, and painting. His practice examines identity, perception, and the systems that shape human behaviour, often focusing on the tension between internal experience and external influence.

His work is rooted in process and material. Using analog photography, hand-constructed imagery, and direct mark-making, Coombs treats each medium as an active participant in the work rather than a neutral tool. Distortion, fragmentation, and recontextualization are recurring strategies, used to disrupt familiar ways of seeing and challenge how individuals are defined and understood.

Much of his work centers on portraiture, not as representation, but as a site of construction. Figures are often altered, layered, or destabilized, reflecting the competing forces that shape identity, including social systems, cultural expectations, and collective perception. Through this approach, his images resist fixed interpretation, instead holding tension between recognition and ambiguity.

His perspective is informed by lived experience, including autism, which functions within his practice as a method of observation and inquiry. This lens allows him to bypass conventional social framing and engage more directly with structure, behaviour, and contradiction.

Coombs’ work often rejects polished resolution in favour of immediacy and presence. Imperfections, material inconsistencies, and visible process are not corrected but integrated, reinforcing the idea that meaning is embedded within the act of making itself.

Through his work, Coombs constructs images that are both confrontational and reflective, inviting viewers to question not only what they are seeing, but how and why they see it that way.