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