“Listen, the weight of a heavy set foot dragging across the floor boards above unmoored by concern for the splinter in the attic above, the same attic two floor removed from the wet-smelling basement where deer hides are tanned with Borax soap..” Out here, I see the world through a type of gauze […]
“The disappearance of discernible items that we consider part of the terrain from fire hydrants to road signs seem obliterated and marshmallowed under the soft, yet threatening canvas or blanket of ice that permeates each picture. Houses tend towards the gingerbread with too much icing and though it can be suggested that it is possible […]
It was the best of years…. Once again it is that time of year where I try to drum up some sort of edit from all of the incredible work the photography book world offers up. This year is difficult as I felt it has been one of the strongest years in recent memory […]
“I felt ambivalent about what was unfolding but in the end, the psychic energy and latent subtext, prefaced by a short story involving a headless woman, a bird and a photographer was too compelling to dismiss.”
”It was in the ambivalence of my situation between being a builder and an artist that I realised the rigidity of the class structure in British society and a certain inescapability of this categorisation.”
“Images from French photographers in West Africa, Madagascar and also the Middle East, such as studies by Tancrede Dumas focused on hair as a way of defining difference”. Of all bodily parts most associated with photography, and though I would like to think there are many, hair remains the bodily material most associated with […]
“Guillaume Simoneau is a not a cannibal, but his book Murder (MACK), is an ode to Fukase’s legendary status and particularly his book Karasu/Ravens. Murder is a devotional hymn, or a phantom limb added to the mythology of the Japanese artist” Inherent or Mythological Propagandas One of photography’s less considered functions is […]
Editor’s Note, This interview was conducted over the period of months. Federico and I would ping pong ideas back and forth. Being a busy artist, Clavarino had already moved into several different territories from my principal point of trying to tackle Hereafter, his great opus about power, family, archive and how history is activated […]
“In very broad terms, it seems that the work made in the West during the 20th century portrays a prolonged event – a disaster, you could say – that unfolded as modernity overtook the landscape and ideologies were instilled in American culture”.
“Photographs make up the vast majority of how we consider the narrative of California in the late 60’s and early 70’s and Dennis Stock’s California Trip exemplifies the condition for how we examine our historical memory and consciousness of the period”.
“The way a photographer “sees” and commits to an image is through experience. These experiences have very little to do with the camera and are built up over years of living-these experiences and the years that sponsor them are not always the glorious nostalgic highlights that we remember in their honey-dipped form, but are also formed of tragedy, comedy and a resistance to our inside force of direction”.
“Self-apathy, self-torment, and a penchant for observations oscillating between peaks and troughs of life’s banes and boons-or what my friend Jeffrey Silverthorne once described as “Swedish grain syndrome”. “The photograph is for nothing”. Truer words are yet to be spoken. Another in a series of Constant Effigies and notorious negations. A child […]