Florian Bachmeier's color photographs, which were taken in the Ukraine over the past eight years, succeed in making past and present historical processes in Ukraine visible and to describe their psychological and social effects on people and landscapes.
He travels intensively all over the country, taking photos in the cities, in the villages and at the front. In the seventh year, an internal political conflict has turned into a merciless proxy war that has cost thousands of lives and spread all over the country in all its effects.
IN LIMBO, describes an apparent state of freezing and, at the same time, permanent uncertainty. The portraits tell of biographies in which the conflict is inscribed visible and invisible. In addition to the heroes' monuments and the ruins of the last war, the front runs through the landscape. In the end, the only choice left for the people is either to settle in this state or to leave the country, their homeland.
In order to escape from the labyrinth in which they had been imprisoned, Daedalus made a pair of wings for himself and for his son Icarus. Flying would make them free. In his enthusiasm, after taking flight Icarus got too close to the sun, as a result of which the heat melted the wax that held the feathers on his back and he ended up falling into the sea and drowning.
Over the course of history, a liaison has been forged between human beings and the sky; between the desire to fly and the physical and symbolic meaning entailed by flying. As a result, flight brings together contrary and complementary elements: the eternal and ascending as opposed to the perishable and descending, the hope and distress in the act of learning to fly and thus rising or plunging to the ground; life and death.
Our desire to fly responds to our need to move one place to another, although we very often plunge into an abyss, as did Icarus.
To become airborne — that’s where the poetry lies.
This Project is the winner of the Fifth Fotocanal Photobook Competition 2020, organized by the Comunidad de Madrid and Ediciones Anómalas.
Text in Spanish and English (in accompanying booklet).
A striking new photographic voice engages with street portraiture to create dark, interior psychological spaces exploring the relationship between public and private lives.
British artist Jet Swan’s first monograph collects together the last three years of the artist's engagement with members of the public through impromptu studio spaces, such as an empty shopfront inside a commercial mall in Scarborough, northeast England, and a repurposed community hall in Ramsgate, Kent, where the artist lives and works.
Swan balances the public identities nurtured and maintained by those who pass through her studio against darker, intimate photographic spaces, contrasting private and tactile images of the body with photographs that skirt around the margins of conventional staged portraiture. With a new text in response by acclaimed poet Rachael Allen.
Rato, Tesoura, Pistola gathers together photographs by Pedro Guimarães, produced in collaboration with Nuno Engstrøm Guimarães (drawings, 7 years old) and Emma-Sofie Engstrøm Guimarães (monster pancakes, 5 years old). Sara Bichão kidly offered her masks that becomes part of a familiar entertainment revealing what an author can be, literally “one who causes to grow,” and not only in a parental relationship. Combining the drawings of his children together with portraits of them playfully or simply relating with the father’s camera, this photobook, designed by Dayana Lucas, is a manifold of experiences and artistic attitudes in which photography works as an intertwining element and where design strategies activate it as a device involving the reader himself in the game. As the title of the book suggests, “Mouse, scissors, gun”, and Pedro explains in the book presentation: “This is how we play together, how we pretend there is no such thing as the vast emptiness that keeps us apart during most days of our lives: 2500 km of land and water, to be precise, the sheer vastness of Europe. But most days is not all days of our lives, right?”. And the time we spend flipping through this book, opening the folds that constitute its very semantic structure, has the sweet and captivating flavour of the magic time described in Pedro’s book, shortening distances and creating magic worlds with the interaction of basic, but powerful elements.
In a digitalized age, the endless stream of images stored in the cloud fills the gaps of what might be forgotten. In her past projects, Michaela Putz was dealing with these implications of technology and virtual image storage and remembrance. The artist's own image archive from different phases of her life, stored on computer and smartphone, serves as the raw material for this. In a kind of digital retrospect, these are photographed and documented directly from the screen, whereby fingerprints and remains of dust on them are also recorded, as well as the mouse pointer and digital artifacts that are created by zooming into the images. Sometimes, they are digitally retouched and smudged, other times, they have been taken several times with the camera of the smartphone, making them pixelated, slightly dissolving the original image. By this, the works aim to visually sound out the gaps between human and digital memory, bringing the digital images consisting of raw data closer to the ephemerality and imprecision of human memory. Doing a publication with these images not only draws a connection between them but also to think about the way we deal with analog and digital image material. Even though digital images seem to be only data, they are constantly being touched: We are wiping and swiping, zooming and tapping on them through the screen. The book tries to take into account these different qualities and connecting the digital and analog processes of looking at images from our past.
New York in the 70’s and 80’s was a volatile city, where everything was happening at once. For over two years, Jill Freedman joined two precincts of the NYPD as they responded to the violence and the unpredictability of the city, putting herself directly on the frontline like an invisible witness.
Freedman was initially sceptical of the police after documenting The Poor People’s Campaign (1968) that followed the assassination of Martin Luther King and after witnessing the police response to the Vietnam protests. But after spending entire days touring the streets and entire nights drinking with the men and women of the NYPD, she started to see the heroism and compassion of the good cops. The ones nobody talked about, who were out there to help their city, seeing the best and the worst of humanity. The ones people loved and respected.
The photographs in Street Cops are intimate and penetrating. They expose not only the rampant violence of New York City at the time but the tender moments between officers and members of the community, the jokes between cops and those getting arrested, the camaraderie between partners, the passion for doing a job that most people would consider an act of lunacy. Her images are raw and direct; unafraid to show the horror. But she also captured the humour and tenderness of a situation. The vulnerability.
Freedman approached photography with an anthropological interest and no judgment. She wanted to tell a story as she saw it and heard it. Street Cops is a collection of stories about a city and its people on both sides of the law.
A cinematic meditation on nature and civilisation, Markus Andersen’s Intimate plunges us into minutiae of urban life in Sydney. Using a telephoto lens, he carves a silent path through the city, capturing a procession of nameless faces, their expressions blown up and immortalised in black and white.
“I shoot fast, take the frame and move. I guess it’s like trying to capture lightning in a bottle,” Andersen says. Shot in extreme close-up and drenched in sunlight, his moody, monochromatic images transmit the full spectrum of human emotion. The inner battles, the hidden vulnerabilities, are laid bare for all to see. Masterfully juxtaposing street photography with tender portraits of the environment, Andersen evokes a bittersweet sense of nostalgia, of disconnection, and denial.
At once mesmeric and beckoning, Intimate transports us to the dark heart of urbanisation and our seemingly limitless appetite for destruction. In doing so, he sheds light on our dormant yearnings to be reacquainted with the natural world and, ultimately, our complicity in its demise.
Supplied with a signed C-Type print: 190mm wide x 127mm deep (5”x7”), printed on Kodak Archival Endura 260gsm (see image)
“Sub Sole (in Latin, beneath the sun), an ensemble of photographs made between 2017 and 2020, in the region of the Mediterranean Sea, follows the mythological itinerary of the voyage of Ulysses: Ceuta, Naples, Athens, Palermo, Istanbul, Tunis and Lampedusa. Crossroads of cultures, cradle of foundation myths, the Mediterranean is, today more than ever, marked by migrations, exile and displacement. Over the course of seven voyages and numerous chance encounters, Mascaro goes in search of the young people who inhabit and traverse this region. The literary narratives which the artist drew upon for his work are like the invisible companions of these photographs. They imbue the contemporary images with an ancient substance. Beneath the sun, political, economic, existential, and poetic implications intersect, beneath the harsh, hot Mediterranean light whose rhythm shapes human life.” Sonia Voss
Richard Rothman's Town of C is a photographic meditation on what lies beneath the unsettling surface of American culture, as seen through the lens of a small town along the Front Range of Southern Colorado’s Rocky Mountains. Rooted in the tradition of the socially critical photography books that have taken America as their subject— Walker Evans’ “American Photographs,” Robert Frank’s “The Americans,” and Robert Adams’ “What We Bought,” among them — “Town of C” both encompasses and expands on the American theme, provoking thoughts about the larger environment. It begins with a prologue of alternating titles and images that announce the elemental forces of nature: water, and the source of the river that runs through the town; the region’s tectonics and the mountains that have risen above them to shape and frame the landscape; and light, the source of energy that fuels life itself.
The increasingly dystopian American experience is placed within the larger context of our disturbed presence in the world. The book, a novel-like, sustained visual narrative, attempts to penetrate and reveal the heart of a small town and, by extension, the culture it has sprung from and the lives of the people who have shaped that culture, and who are in turn shaped by it. Varied, wide-ranging portraits span generations and classes, from infants to the elderly, from the homeless to the wealthy. They bear witness to the struggle to survive and ascend, and attest to an eternal hunger for unrequited longings that fuel human interaction in unpredictable ways. The tragic nature of the human condition explored in the portraits, nudes, and altered landscape of C is set against the rapturous beauty of a vanishing natural world still capable of generating awe, wonder, and a reverence for life.
Yukari is the fourth volume of a four books new series by Daido Moriyama 'Woman in the Night'.
"The woman who called herself Shinobu in Shinjuku, Hiroko in Minami, and Naomi in Nishiki, went by the name of Yukari in the Nakasu district of Fukuoka. “Someday, I’m gonna live in New York” – that’s what she always said. It’ll soon be two years since she disappeared from Nakasu. Maybe she fulfilled her dream and lives in New York these days. Even now, I still think of her sometimes. This is a profile of her as she appears in my memory, although she may be in New York now."
- Daido Moriyama
Edition of 350 signed and numbered copies with silkscreen printed canvas cover.
A few days ago in the evening, I suddenly felt the urge to take a train to Yokosuka. It was already after 8 PM when I arrived in the ”Wakamatsu Market” entertainment district behind Yokosuka Chuo Station on the Keihin Line, but due to the ongoing pandemic, the lights of the normally crowded shops were all switched off. The streets at night had turned into a bleak, dimly lit place, with the usual drunken crowd nowhere in sight. I eventually held my camera into the darkness and shot a dozen or so pictures, while walking quite naturally down the main street toward the “Dobuita-dori” district. However, most of the shops here were closed as well, and only a few people passed by. It was a truly sad and lonely sight.“Little wonder,” I muttered to myself, considering that more than half a century had passed since the time I wandered with the camera in my hand around Yokosuka, right in the middle of the Vietnam War.
It was here in Yokosuka that I decided to devote myself to the street snap style, so the way I captured the Yokosuka cityscape defined the future direction of my photographic work altogether. I was 25 at the time, and was still in my first year as an independent photographer. I remember how determined and ambitious I was when I started shooting, eager to carry my pictures into the Camera Mainichi office and get them published in the magazine. It was a time when I spent my days just clicking away while walking around with the camera in my hand, from Yokosuka out into the suburbs, from the main streets into the back alleys.I had been familiar with the fact that Yokosuka was a US military base since I was a kid, and it also somehow seemed to suit my own constitution, so I think my dedication helped me overcome the fearfulness that came on the flip side of the fun that was taking photos in Yokosuka.
These are the results of a mere two days of shooting, but somewhere between the changing faces of Yokosuka, and my own response from the position of a somewhat cold and distant observer in the present, I think they are reflecting the passage of time, and the transformations of the times.
Kawada’s The Map / Chizu is the most famous and sought after book in the history of Japanese photography. Designed with the noted graphic designer Kohei Sugiura,Chizu has seen numerous editions since its original publication in August 1965. In November 2001, New York Public Library acquired the rarest version of the book, Kikuji Kawada’s unique, handmade maquette. The maquette presents a notably different physicality than that of the published edition—many of the pictures are the same but with variant croppings, tonalities, orientations, and a markedly dissimilar configuration with a pair of jacketed volumes—each nearly twice as large in format as the published version—separated by a black-and-white divider. With its pages made of thin, silvery darkroom prints, folded in half and pasted back-to-back, there are no folios to unfurl, only a progression of intense, full-bleed images. This MACK version is an exquisite facsimile of the two-volume maquette, and includes an accompanying bilingual booklet featuring new scholarship by Joshua Chuang and Miyuki Hinton, together with an extended interview with the artist, detailing the evolution of one of the greatest photobooks ever made.
Two hardback books, each with a jacket, plus one paperback booklet with leporello fold. Housed in a buckram bound hardback slipcase, protected in a printed cardboard mailer. Text in English and Japanese.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
“This is how I remember New York City in 2002. I was 19 years old and had just moved to Manhattan from my family’s small farm on Long Island. It was the first summer after the September 11 attacks. Workers were removing the last of the debris from the collapsed Twin Towers. The city felt both immense and fragile compared to the groundedness of my childhood home.”
“On weekdays, I worked in Arnold Newman’s photography studio. After hours and on weekends, I walked through the city’s five boroughs with my camera. When someone made eye contact with me, I asked if I could make a portrait of them. At first, I assumed people would respond with caution. I was a stranger. The city was recovering from an event that shook its sense of security. Yet, most people said yes and looked straight into my camera lens. I am grateful they chose to trust me.” - Lucas Foglia
Published on the 20th anniversary of the September 11 attacks, Lucas Foglia’s portraits show the tremendous diversity of New York City. Everyone is portrayed with dignity, regardless of age, gender, sexual orientation, or ethnicity. Today, as the world begins to heal from the coronavirus pandemic, the photographs remind us to approach strangers with compassion, across social distances.
"The first picture, gas station through the car window, starts the trip off.I drove eight days, in July,1991, from Atlanta, Georgia to Memphis, Tennessee along small roads, and stopped along the way. When I got to the cities, like Jackson or Birmingham, or Montgomery, I stopped at parking meters and walked around blocks. My intention was not to make a book---only pictures.
After thirty years, and the exposure of extreme political incompetence with the recent past governments, I looked at this work again and thought it might be an accidental view of the South in three parts: Black people, white people, and the infrastructure at the time. Cotton was an early, fundamental, economic driver, with profit enhanced and insured by slaves. Cotton is a picture book, but with a political and social backstory. I stopped at a small black church and used two pictures to emphasize the hold of religion and strong women.Instead of square miles of cotton fields I saw its trace in small cardboard boxes.
The book’s last picture of the five boys on the bench seems emblematic of the region’s resulting, and often segregated leisure. The camera made an unconscious litmus test with black and white film exposed to the acid nature of racism."
In 2011 Jörgen Axelvall moved to Tokyo after living in NYC for 15 years. The work in “Go To Become” is Axelvall’s expression of his feelings as a newcomer to Japan. It is in every aspect biographical. The oxymoronic combination of feeling excluded and lonely on the crowded streets of Tokyo led Axelvall to seek out desolate and quiet environments. These places soon became his personal sanctuaries where he would find refuge and peace of mind from the hustle of the city, often in the middle of night. Several of these photographs earned Axelvall the New Exposure Award from US Vogue and Bottega Veneta in 2013. When asked by the jury for a brief description Axelvall said the following:
“I live in a big city the biggest in the world by some measure. I’m a foreigner here, at times I feel trapped, alienated and lonely amongst the millions of people calling this home. These images were all photographed in central Tokyo not far from my home in Shibuya at the sanctuaries where I find peace”
A lover of poetry and literature, Axelvall later teamed up with Mutsuo Takahashi, one of the most prominent and prolific poets in contemporary Japan. With more than 130 books published, including dozens of poetry collections, Takahashi’s poetry successfully spans all the major Japanese poetic forms. After listening to Axelvall’s story and looking at the photographs, Takahashi wrote the poem “Go To Become” [なりに行く in Japanese] specially for this project.
“Perhaps the two main factors that allowed me to definitely cross over to colour, in 1985, were the realization that I could find guidance in the great tradition of Spanish painting, and the decision to have the entire image in focus; the latter forced me to use a shorter focal length (28mm) than I normally used and it made it necessary to widen the field of vision on which I was working. I no longer reacted to a situation that was in front of me, but rather to the visual rhythms of a situation in which I was immersed. So easy, and yet so complicated.
I had been working for 17 years in black and white when I started working exclusively in colour. I was then 39 years old. Suddenly I felt very comfortable, liberated and euphoric. The colours dazzled and overwhelmed me, they reacted with each other, everything vibrated and I felt enveloped by colour and its possibilities. The intensity of this first experience progressively declined but I regained the enthusiasm and dedication that I had almost lost after so many years of frustration.”
Yamamoto Masao lives in Yamanashi Prefecture, Japan, in a house surrounded by forests over three thousand feet above sea level. His lifestyle matches his art, entirely devoted to capturing the “small things in silence” that life and nature offer his gaze.
When in 2013 we took Masao and his wife Reiko for the first time to the Ardèche, on the invitation of Annie and Bernard Mirabel, affinities became evident immediately.
The same love for nature and the ties with the mountain, not that far different from their life in Yamanashi: the same wooded hills on the horizon, the same lights in space in the evening garden. Since then there have been various visits, simply for the pleasure of it, but also to fill up this silent contract between the hosts and the guest: bringing a stone to the edifice that the Fabrique du pont d’Aleyrac has been building for years, inviting artists to work on the Ardèche.
Yamamoto wanted to meet people here and photograph them. Using small settings he depicted imaginatively what seemed important in their lives: the animals they raise, the countryside they live in.
ーー Didier Brouse
This book includes an unpublished text by Marie-Hélène Lafon, who was awarded the Renaudot Prize in 2020.
“A raw and introspective portrayal of Harris’ experience as an autistic, non-binary, transgender artist, tracing their struggles with mental illness, self-love and gender identity.” – British Journal of Photography
“At first the focus of my project was my gender transition, but along the way I found out that it’s about an ongoing search for myself: being a human with feelings, who is continuously developing.” — Marvel Harris MARVEL describes the journey of Marvel Harris’ personal battles with mental illness, self-love, acceptance, and gender identity, all told through a searing collection of self-portraits spanning the course of five years. These photographs present a new-found visual language; a tool with which Marvel was able to express those emotions that, on account of his autism, he previously struggled to make sense of. The process of making these portraits allowed him to connect to the world around him at the time he needed it most. Winner of the MACK First Book Award 2021, MARVEL is an important new voice which contributes to an increased awareness of the issues surrounding gender identity and mental health. In doing so, this deeply personal book demands a more tolerant attitude from society towards transgender people and those who don’t identify as entirely male or female.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
‘Like that of all serious artists, [Schulz-Dornburg's] work [is] more than how it can be described: a keen political intelligence combined with a poet’s feeling for light, stone, form and shimmering horizons.’ – The New York Times
In 1983, Ursula Schulz-Dornburg accompanied two ethnologists and an architect on a research trip to Tana Toraja on the central Indonesian island of Sulawesi. Initiated by the Royal Tropical Institute of Amsterdam, the trip was intended to “explore the changing patterns in architecture and symbolism among the Sa‘dan Toraja”. On the way back from Rantepao to Ujung Pandang airport, Schulz-Dornburg passed the distinctive houses of the Bugis or To-Ugiq people, perched on the yellow paddy fields. Fascinated by their complex, expressive architectures, she began to photograph the houses in the short time she had before leaving, realising that the structures would likely not exist in their traditional form for much longer. The result is a body of work that not only surveys the houses’ physical forms but also considers wide-ranging ideas of physical and emotional homebuilding and the precarious place of tradition in the present day.
Poised between heaven and earth and standing above the water when the rice fields are flooded, the Bugis houses reflect the creation myth of their people, in which the gods of the upper and lower worlds came together to create man to populate the uninhabited middle world. The farmers depicted by Schulz-Dornburg are likewise suspended between historic tradition and the impending pressures of the contemporary world. As they go about their work or greet her camera, they and their homes are held in the balance between past and future, mythology and everyday reality.
With these shrewd and sensitive images, Schulz-Dornburg captures life as it is built and lived within a particular culture and landscape, offering a searching reflection on the places we call home.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
“This book is an early vignette from Michael Kenna’s far-reaching photographic odyssey. Some of these photographs, made almost forty years ago, are familiar, even famous, but many have never been seen before. They have been lying in wait, stored in a series of negative files. Normally, Kenna travels extensively and is not able to keep up with printing his extensive collection of negatives. It took the Covid pandemic and lockdown for him to search through his archives, rediscover these long-forgotten images, and print them in his darkroom. These photographs reveal a Northern England from Kenna’s youth that, for the most part, no longer exists.” — From the Introduction
Michael Kenna was born in the small industrial town of Widnes in northwest England. The youngest of six children, Kenna grew up in a poor, working-class, Irish-Catholic family. He attended a seminary school for seven years with the intention of becoming a priest, after which he studied at the Banbury School of Art and later at the London College of Printing, before moving to the USA in the late seventies.
The adjoining counties of Lancashire and Yorkshire, where Kenna photographed in the early eighties, have much in common regarding their industrial development. Fiercely competitive, they share a border, a spine of mountains known locally as the Pennines, which helps to produce rain. The rise of a powerful cotton and wool industry, and the building of innumerable mills, canals, railways, chimneys and terraced worker houses, have been attributed in part to these high levels of precipitation. The local textile industry proliferated until the second half of the twentieth century, when there was a sudden, rapid decline and eventual decimation. It was during this precise time period that Kenna returned to the area to photograph, during the day and also at night.
Kenna’s early photographs of England launched his career and brought him international acclaim; yet it wasn’t until last year, 2020, that he revisited this particular body of work to find many unprinted images. These discoveries are exquisitely presented in this important new Nazraeli Press monograph, Northern England 1983–1986.
Beautifully printed on a natural textured art paper, accompanied by an introductory text by Dr. Ian B Glover, the seventy-five plates are reproduced in quadratone and bound into cotton cloth-covered boards reminiscent of the era.
David Luraschi’s Ensemble is a gradual, sensual yet tender series in which bodies mingle, fuse, and eventually are absorbed by the landscape that surrounds them. Luraschi evokes the spirit of the windswept Provençal wetlands of the Camargue: Europe’s largest river delta, to the west of Marseille and south of Arles, an area of salt flats known for its wildness: untamed by nature, flat and desolate, but punctuated with apocryphal myths, vagabond settlers, flamingoes and wild horses. Luraschi builds on this wildness with his choreographed nudes, interlocked beyond individuality, always turned from the camera, fused in an oblique embrace; charged, tender, uncomfortable, intimate yet anonymous.
As is typical of Luraschi’s practice, these images are the result of collaboration and friendship – between the artist, designer Simon Porte Jacquemus, who commissioned the work, and dancers Claire Tran and Paul Girard.
Following the birth of his son Atlas, Christopher Anderson stepped away from war photography, turning his camera towards an intimate reflections of family life, resulting in his 2013 book Son.
Stanley/Barker is proud to publish a beautifully reimagined edition which adds a second chapter of 80 new pages to the story, following Christopher and Atlas's relationship up to the present day. The book includes both Anderson's original images from Son (2013) plus 40 never before seen images.
“These photographs are an organic response to an experience that is at the same time the most unique and the most universal of experiences: the birth of a child. At the same time that I was experiencing the intense joy of new life, my father was diagnosed with lung cancer.It’s fair to say that I found myself reflecting on obvious themes of life and death. Through my son, my role as the son took on new meaning and my senses were hyper tuned to the evidence of my own life passing. Then these photographs just sort of happened. They are a record of love and a reflection on the seasonal nature of life.”- Christopher Anderson
1st printing of the Stanley Barker edition. Final copies.
Mark Steinmetz’s first book of cat photographs, Ancient Tigers of My Neighborhood, was published in a limited edition as part of our Six by Six series, and was nominated by Robert Adams as a “Best Book of 2010” at the Kassel Photobook Festival in Germany. For his first contribution to our new One Picture Book Two series, Steinmetz again has chosen cats as the subject and we are pleased to make this aspect of the artist’s work available to a wider audience.
Beautifully printed on Matt art paper, Cats features fourteen never before published photographs of cats and kittens making themselves at home in Athens, Georgia.
Mark Steinmetz is a Guggenheim Fellow, and his work is included in the permanent collections of many important institutions, including Museum of Modern Art, New York; Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Art Institute of Chicago; and the Los Angeles County Museum of Art.
Cats is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist (see colour image).
"When we make photographs, we are participating in a conversation that takes place across temporal space. To press the shutter is to pull a slice from the unyielding flow of time, to hold a moment still, so that we may linger on moments of connection and beauty that would otherwise evaporate as quickly as light can move.
Our language is visual- these sentences are constructed in motifs, juxtapositions, color theory, and compositional weight. It’s a language we can never fully master, but we can always deepen our fluency, every new insight learned is compounded in the reservoir that we draw from, and from this ever-deeper well, new ideas emerge and break through the surface, showing us new ways to see.
One of my favorite photographers who sees the world in her own complex and poetic way is Monaris.
She is able to filter the chaos of city life through a sensitive and thoughtful lens, highlighting the humanity that turns these cathedrals of concrete into living, breathing, communities. A city without its people is just an inert structure, and to find the moments that breathed life into an inorganic place is a subtle and clever talent."
- Dave Krugman
Please note: some faint rubbing over time to the black spine is common with this title.
‘We live our lives in widening circles, rarely appreciating their nature and how they bring us back. In a year, my daughter will be leaving home and is no stranger to a similar wanderlust I once knew. As a father, I always felt it was important to instill a profound sense of place, to identify with a certain place as home, even as these ideals have, over recent years, taken on relative meaning. I photograph close to home as memory loses structure, its architecture, trying to make light speak from the fixed edges of rooms long vanished.’ - Raymond Meeks
Inspired by his daughter’s entrance into adulthood and her imminent departure from home, Raymond Meeks studies the centrifugal forces of the places we live – how they anchor us, repel us, and return to us – through scenes that appear both fragile and immovable. In these photographs, gardens give way to thicket, houses are suspended on stacked railroad ties, and telephone wires and train lines suggest the networks we build to find our way through the world’s wilderness.
Among these domestic landscapes are portraits of Meeks’ daughter, which capture the introspection and inquisitiveness of early adulthood while paying tribute to the ultimate mystery of their subject’s consciousness. Following the success of Meeks’ previous book, ciprian honey cathedral, Somersault is a concise, poetic reflection on home and the ties that bind us to it — all the stronger as they fade into the half-light.
The signed edition includes a slip signed by the artist and bound into the inside back cover.