MJ Maccardini (trailerfullofpix)'s photos with the keyword: perspective

Ghost object at Leighton House -- one of several objects, recreated in paper, that used to be in the house but are no longer.

Newly-opened V&A Storehouse, located in the former London 2012 Olympics Media and Broadcast Centre. The Victoria and Albert Museum stores objects in this vast space, with glass shelves and glass floors that enable you to look down at objects below and see into the conservation areas.

Newly-opened V&A Storehouse, located in the former London 2012 Olympics Media and Broadcast Centre. The Victoria and Albert Museum stores objects in this vast space, with glass shelves and glass floors that enable you to look down at objects below and see into the conservation areas.

Newly-opened V&A Storehouse, located in the former London 2012 Olympics Media and Broadcast Centre. The Victoria and Albert Museum stores objects in this vast space, with glass shelves and glass floors that enable you to look down at objects below and see into the conservation areas.

Ghost object at Leighton House -- one of several objects, recreated in paper, that used to be in the house but are no longer.

Leighton House, Holland Park Road

Nimrod Road, Tooting

Nimrod Road, Tooting

One of the pieces in Cornelia Parker's fantastic exhibition at Tate Britain. She poured rubber into the cracks in the pavements around Bunhill Fields graveyard, then cast the forms in bronze.

One of the pieces in Cornelia Parker's fantastic exhibition at Tate Britain. She had school children look through the tabloids and write various headlines on these blackboards. These were written by nine-year-olds.

Hew Locke's installation in the Duveen Galleries, Tate Britain. A procession is part and parcel of the cycle of life; people gather and move together to celebrate, worship, protest, mourn, escape or even to better themselves. This is the heart of Hew Locke’s ambitious new project, The Procession. The Procession invites visitors to ‘reflect on the cycles of history, and the ebb and flow of cultures, people and finance and power.’ Tate Britain’s founder was art lover and sugar refining magnate Henry Tate. In the installation Locke says he ‘makes links with the historical after-effects of the sugar business, almost drawing out of the walls of the building,’ also revisiting his artistic journey so far, including for example work with statues, share certificates, cardboard, rising sea levels, Carnival and the military. Throughout, visitors will see figures who travel through space and time. Here, they carry historical and cultural baggage, from evidence of global financial and violent colonial control embellished on their clothes and banners, alongside powerful images of some of the disappearing colonial architecture of Locke’s childhood in Guyana. The installation takes inspiration from real events and histories but overall, the figures invite us to walk alongside them, into an enlarged vision of an imagined future.

Fourth plinth, Trafalgar Square. Samson Kambalu’s bronze resin sculpture restages a photograph of Baptist preacher and pan-Africanist John Chilembwe and European missionary John Chorley, taken in 1914 in Nyasayland (now Malawi) at the opening of Chilembwe’s new Baptist church. Chilembwe is wearing a hat, defying the colonial rule that forbade Africans from wearing hats in front of white people, and is almost twice the size of Chorley. By increasing his scale, the artist is elevating Chilembwe and his story, revealing the hidden narratives of underrepresented peoples in the history of the British Empire in Africa, and beyond. John Chilembwe was a Baptist pastor and educator who led an uprising in 1915 against British colonial rule in Nyasaland triggered by the mistreatment of refugees from Mozambique and the conscription to fight German troops during WWI. He was killed and his church destroyed by the colonial police. Though his rebellion was ultimately unsuccessful, Malawi, which gained independence in 1964, celebrates John Chilembwe Day on January 15th and the uprising is viewed as the beginning of the Malawi independence struggle. The artist, Samson Kambalu, was born in 1975 in Malawi, and now lives and works in Oxford where he is Associate Professor of Fine Art and a lifelong fellow at Magdalen College, Oxford University.

Outside the Photographers' Gallery.