John MacDougall’s photographs of Hong Kong and Macau are firmly rooted in this period of transition. The human subjects – isolated or in twos and threes, their faces often turned or half-turned away – appear self-absorbed and vulnerable. The same look of introspection marks the faces of the privileged expat alone at the pool and the elder man in the packed subway train. The city is here too, but glimpsed only in passing, its skyline reduced to a backdrop or softened by moisture on a window. When structures are brought into focus, they show signs of wear and tear – the corrosive impact of human use and history.
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