Tag Archives: landscape

Awoiska van der Molen: Sequester

In short, Sequester is one of the best Photobooks I’ve seen in a long time. Here’s why…

Sequester the book

Awoiska van der Molen’s book Squester

…I use a 5-point scale when I’m deciding whether I like a cup of coffee (Yes, this is a photo blog not a coffee blog, but bear with me). Here’s how it goes:

  • Yuk, tip it down the sink
  • Nah, that was too much of an endurance test
  • Well, someone might like it but it’s not for me
  • Hmm, nice but rather 1-dimensional; something’s missing or dischordant
  • Yummy, I could drink that again!

Then I realised I use pretty much the same criteria when I’m reading a photobook or visiting an exhibition. I know others who are more analytical in their approach, and a lot of people who are less so. As a practitioner I know that there is a danger of over-analysing my own work, at least while I am creating it, but I think that at least some enquiring thought about my own and others’ work helps me learn and improve, so I shall try my coffee criteria on photography for a while and see whether it works out.

There aren’t many coffees photobooks that make it to the Yummy point of my scale but Sequester is one of them. The title comes from Awoiska van der Molen‘s desire to isolate herself on the Canary Islands with a camera and film for periods of introspection where she seems to be using landscape and the photographic process as a metaphor for her thoughts and a process for artistic development. She acts instinctively while taking the images and enjoys the delayed gratification of film processing but this also allows her mind to work on the memory, so post-visualisation is an important part of her work. All the images in this book are consistently melanistic (to use an appropriately organic term) but in this instance I don’t find the dark tones depressing but rather they inspire me to look more closely, to enquire more deeply into the hidden detail of the shadows and to appreciate the rare quality of the few highlights. Van der Molen describes her images as not so much representing a moment in time but more part of a continuum; evoking a mood is what she aims for.

Awoiska van der Molen speaking at The Photographers' Gallery, London

Awoiska van der Molen speaking at The Photographers’ Gallery, London, recently

She photographs in short bursts of about 3 weeks at a time. The first week is spent exploring then by weeks 2 and 3 she is ready to be productive. For the images in Sequester she returned to the Canary Islands several times. It is hard to say why she responds to some landscapes and not others but Spain and The Canaries appeal whereas Italy, for example does not. It seems to be related to the impact that man has had: she prefers a light, understated influence rather than obvious layers of history.

Original photograph by Awoiska van der Molen

Images alone don’t make a book – they have to work with the construction, layout, paper, printing and typography, and that’s what makes this book special. The designer, Hans Gremmen, has done a brilliant job on this within the constraints of commercial production. A master stroke was including every third section printed in white ink on black paper. My main criticism is for the way some images bleed across the gutter to the opposite page. This normally ruins the photograph’s carefully considered composition however van der Molen’s primary concern is not for conventional composition but for tones, light and shade, and mood. So in this instance I have to forgive what I normally consider bad practice in the interest of bleeding the image off the edge of the page, which is far more important here as it implies the image being a window into a bigger world.

Sequester is up there with the yummiest of photobooks but if photographs are inherently history then photobooks are even more so (Sequester took about 3 years to publish). Awoiska’s photography has evolved since these images were made and I look forward to following this artist’s journey through her personal landscapes in the future.

Matej Sitar’s page-turning video of Sequester is at https://vimeo.com/122460044

Awoiska van der Molen has images on show at The Photographers’ Gallery, London, as a nominee for 2017 Deutsche Börse Photography Foundation Prize until 11 June.

Christopher Thomas: New York Sleeps

newYorkSleeps

The cover of New York Sleeps by Christopher Thomas. 310 x 285 x 23mm. 160pp. Revised and expanded edition 2016. Prestel Verlag. My first impression is of a New York that I don’t recognise. Sure, I recognise the places, but where are the people? As Frank Sinatra sang: “New York, New York. I want to wake up in a city that never sleeps.”

Right from the start this is a disconcerting book. There is a consistency of vision and technique that makes it a single body of work even though the photographs span 8 years. The sequencing of the images is clear and evidential in its logic, and the print and paper quality is gorgeous. Including the Polaroid film edges in every image give them a ring of authenticity and leads us to make the assumption we are seeing the whole, unadulterated image, and yet the lack of people gives them an other-worldly feel. The more pages I turn the more I have a premonition that some terrible instantaneous event has happened to make everyone disappear while leaving the lights on and the fountains running with only the camera remaining as witness. It’s not so much New York Sleeping as New York Depopulated.

The more I read New York Sleeps the more I find a number of tensions running through it: these are black and white images of a colourful subject but is this done for artistic purpose or to give a documentary impression?; there is a studied static feel to the images, which shatters our preconception of New York as a dynamic city; finally the lack of people lends the images a dream-like surreal atmosphere that is heightened by the time exposure blur in many of the photos.

timesSquare

Times Square. Not a typical image from the book, but one of my favorites. It breaks the rules: the highlights are bleached out, the greys carry little information and the main centre of attention is a trash can. Could it be aliens landing? 

After several readings I began to see it increasingly as a work of fiction (or perhaps ‘dream’ is a more appropriate word, given the title) so I decided to treat the book like a storyboard for a movie. It provides the raw material for the readers’ imaginations to find their own answers, make up their own stories and resolve the tensions. To treat this book as a linear set of sequenced images (as good as they are) would be a waste; there are layers beneath this that are worth exploring and for this I would definitely recommend it.

Linda Lashford’s Songlines

Linda Lashford travels for a living, and photographs as she travels. Hers are not simple documentary records of places though: Linda photographs by theme and the images in this exhibition “Songlines” are grouped into Intimations of Landscape, The Splintered Coast, and Trappings of Light. Her images are on display at the Joe Cornish Gallery, North Yorkshire, UK until 23 September 2015.

As you might guess from the title, Intimations of Landscape are intimate semi-abstract photographs of aspects of landscape such as water, distressed paint or mist using a limited tonal range and colour palatte. Most show close-up details that imply much larger landscapes.

4 images by Linda Lashford

4 images from Linda Lashford’s Intimations of Landscape series.

Most of the 12 images in this series have little in the way of compositional elements to hold them together or guide the eye; the viewer is left to wander through each image and imagine what lies beyond the frame. These aren’t images of something but rather about something. That “something” is really for the viewer to decide based on the emotions and memories the images evoke. The images hover between a physical reality and a spiritual plane. As Minor White would have said: it’s not what is photographed that’s significant but what else is photographed.

3 images from The Splintered Coast series by Linda Lashford

3 images from The Splintered Coast series by Linda Lashford

The Splintered Coast contains 6 studies of the coastlines of Cornwall, South Wales and Brittany. Of all Linda’s images these are the most anchored in reality, the most literal of the themes. Unlike her other series, most of these contain horizons – perhaps it is this horizontal reference plane that implies the reality and makes it difficult to make the mental jump to any metaphoric plane. Instead I found myself comparing the similarities and differences of the coastlines depicted, which made it, at least for me, the least satisfying of the series.

The beautifully titled Trappings of Light series was taken in an abandoned cork factory in Portugal. “Oh no, not another abandoned-factory-stroke-urban-decay project” you may be thinking. Well no, it isn’t another me-too project about decay; Linda’s control of the photographic process and her eye for isolating and composing details out of visual noise show their strength in this series of 8 images. Form and texture interact with controlled abandon; there is light and shade but the highlights have detail and the shadows never block up. The light is without doubt trapped by these images and give pleasure and intrigue to the viewer that, like Intimations of Landscape, is rewarded by lingering with each photograph in a meditative frame of mind.

6 images from Songlines

Top row: 3 images from Trappings of Light. Bottom row: 3 images from Intimations of Landscape. Photographs by Linda Lashford

Songlines is a varied and satisfying set of images from a talented photographer. My only reservation isn’t about the images but about their display: the presentation and framing of each image is excellent but the hanging splits the series between walls and floors in the gallery, making them less coherent as bodies of work, and appears to associate images by superficial visual similarity rather than developing an underlying theme or narrative. This is understandable as the gallery is quite crowded with images from various photographers and tends towards a hard-working emporium of pictures rather than an art gallery, but it is a commercial enterprise and if that’s what’s needed to keep it running then I’m not going to knock it. Just control your expectations if you go there – and I recommend that you do!

OnLandscape conference: craft versus art

OnLandscape, an on-line photography magazine, organised a weekend conference from 21-23 November 2014. I don’t think of myself as a landscape photographer but walking and photography have been synonymous for most of my life so I thought I’d attend. Here are my thoughts.

It's a fungus. No, it's a highly eroded landscape. No it's avast underground city. Yes, it's a metaphor! ©Malcolm Raggett

It’s a fungus! No, it’s a highly eroded landscape! No it’s a vast underground city! Yes, it’s a metaphor!! ©Malcolm Raggett

A glance at the OnLandscape Web site and the type of photographs that many of the contributing photographers take shows the narrow definition of “Landscape” to be expected at the conference. We’re talking “Natural Landscape” here: the urban or built environment is anathema to most of these photographers, as is any sort of environmental activism. The overwhelming aesthetic derives from that long thread stretching back from today’s Joe Cornish and Paul Gallagher (colour and black & white respectively) through Eliot Porter and Ansel Adams to the American Sublime and the English Landscape painters.

Most of the conference speakers (all male, I note) talked about the business, craft and practicalities of their photography, though David Ward considered cultural origins of colour, Rafael Rojas gave an excellent analysis of his approach to fine art photography and Jem Southam showed how he used the photographic process to satisfy his curiosity about contested spaces, narrative and metaphor. Southam’s talk was the closest we got to offering an alternative aesthetic in landscape photography and, judging from my conversations with other delegates afterwards, caused strong division of opinions amongst those who heard it.

Pushing a little harder at this division, there are those who think that a photograph should depict the subject in front of the camera in the most conventionally beautiful way possible. The recent winner of Take-a-View’s Landscape Photographer of the Year was held as an example of this, and two of his prints displayed at the conference did show a distinct tendency towards oil-painting qualities. I didn’t gather opinions from everyone at the conference but my perception is that the majority of those present fell into this “conventional beauty” camp. The concept that what a photograph is of and what a photograph is about can be entirely different hasn’t occurred to many viewers, or that a series of images can be greater than the sum of the parts was only acknowledged in a superficial way (such as a book being a collection of someone’s best photographs).

orange cone by yellow rape

Is it a road cone by a field of rape? Or is it a king leading his army into battle? Oh no, it’s another metaphor! ©Malcolm Raggett

The photograph has a powerful hold in many peoples’ minds as a reproduction of reality. Much has been written to dispel this myth but still it persists, perhaps because that is how most of us serve our photographic apprenticeship: recording photographically as an aid to memory. Yet one of the characteristics that is unique to our species (as far as we currently know) is our use of metaphor. It seems to be inate, starting with children seeing clouds that are shaped like animals through fictions that represent real life, to lines on paper that represent gods. Why then can’t aspiring photographers make the same associations in theirs and other photographs? Perhaps because the photographer never intended it? Or because the viewer never thought to push themselves outside their normal mental comfort zone?

As David Clapp pointed out in his talk, we strive for originality within familiarity but this diagram indicates we are not likely to find it there!

As David Clapp pointed out in his talk, we strive for originality within familiarity but this diagram indicates we are not likely to find it there!

I wonder if Jem Southam’s unuttered plea for delegates to think more deeply about their photography, to let go of the camera-as-craft and use it as a tool of enquiry, will have fallen on deaf ears. If a few people are encouraged along this line of thought then I think the conference will have been a success. It certainly helped me to see the different levels and diversity there is even within the narrowly defined scope of the conference. The conference was subtitled “A Meeting of Minds”; I do hope those minds have been encourages out of their comfort zones!

Nadav Kander and the aestheticisation of landscape

Nadav Kander’s latest landscape series “Dust” is exhibited at Flowers, Kingsland Road, London until 11 October 2014.

Nadav Kander, Dust.  Priozersk XIV (I was told she once held an oar) Kazakhstan 2011

Nadav Kander, Dust.
Priozersk XIV (I was told she once held an oar) Kazakhstan 2011

All photographers make an aesthetic decision when they choose a viewpoint and frame a photo, but aetheticisation goes beyond this to making “pleasingly beautiful” or “idealised”1 landscapes. It’s a sliding scale, with photographers like Daido Moriami and his snapshot approach at one end to the over-saturated pointless sunset at the other. In between there are professionals and amateurs emulating masters of the past, copying masters of the present or genuinely exploring and pushing forward photographic landscape aesthetic.

Artists making a living by landscape photography are restricted by their market; they tend to photograph in a way that will sell. This frequently results in the commodification of a mythic landscape using lowest-common-denominator aesthetics. So as a professional artist/photographer Nadav Kander has a difficult path to tread with “Dust”. In this work he chooses to document a “dirty” landscape – radioactive ruins on the border between Kazakhstan and Russia where atomic bombs and missiles were tested – in his characteristic quiet light reminiscent of the Dusseldorf School (Gursky, Ruff, Struth et. al.). Sometimes he chooses a camera position that only shows one side of a building, giving a static 2-dimensional impression but more commonly he shows us 2 sides, giving perspective, a little more dynamism and a greater sense of reality. He gets in there and shows us individual buildings or at least what’s left of them after an atomic blast or quake.  Thankfully there are no aerial photographs, which I find too distant and abstracting to get me involved. Kander’s landscapes are under-stated, controlled and consistent but not so consistent that they become boringly repetitive. They engage the viewer intellectually and emotionally without bludgeoning them with a message. Given the subject, I find his images err on the too-comfortable aesthetic side, but like all good art the work poses questions rather than provides answers so I can forgive his tendency to over-aestheticise. Having said that, he stays safely within his own photographic aesthetic to great effect: the viewer can almost hear the Geiger counter clicking away in the background. If you like Kander’s previous work you should be impressed with this new one. If you don’t know his work I highly recommend seeing Dust.

There’s an interesting interview with Nadav Kander on Vimeo and there’s a (slightly expensive) book. If you can’t get to the exhibition, do check out the book.

 


1 dictionary.com

Esther Teichmann: Fractal Scars, Salt Water and Tears

Esther Teichmann’s photographs – actually more of an installation using mainly photographs – are on display at Flowers Kingsland Road, London until 10 May 2014. The images are somewhat dark and the meaning obscure so displaying them in the upstairs space with its smaller area, lack of natural daylight and lower ceiling height is very appropriate.

 

Esther Teichmann photographs

Large manipulated overlapping images give a surreal quality to Esther Teichmann’s exhibition

Although the images are recognisably of places or people or shells, they are altered to give them an other-worldliness. They are then overlapped or juxtapositioned to produce a surreal effect as if we have been transported to a dream-world which Teichmann is exploring both physically but more importantly, emotionally and with a strong feminine theme. A central display of coral, wood and one of my all-time favourite books “The Shell: Five Hundred Million Years of Inspired Design” points out that we air-breathing creatures can still explore an underwater world in our imaginations, where physical limitations can be overcome.

the Esther Teichmann show at Flowers Kingsland Road, London

Part of the Esther Teichmann show at Flowers Kingsland Road, London

At first I found Teichmann’s show perplexing, as if it was in another dimension that I wasn’t part of, but as I looked around (several times) I found myself becoming more involved in her exploration. Once I mentally released myself into this different, parallel world I enjoyed it. Thank you, Esther, for being my guide even though you weren’t there!

countryside turns yellow

I’ve passed this lone cone many times but never stopped to photograph it until the countryside turned yellow with flowering rape. Then this cone suddenly acquired a context as if it was a king leading an army…

orange cone by yellow rape

This cone took on a new meaning when the rape flowered