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Picture of Oasis Hotel

Publisher's Description

This book documents a hitchhike along China’s Cross-Desert Highway, a road built in the mid 1990s to help the extraction of oil. It stretches for more than 500km from north to south across the Taklamakan, one of the world’s most inhospitable deserts. The journey records the road and its people - truck drivers, cotton pickers, oil well workers and prostitutes, whose lives are caught up in the dependancy and desolation of the prospering oil industry.

Book details
Author: Nicoló Degiorgis
Design: Nicoló Degiorgis and Walter Hutton
Format: hardcover, concertina binding
Handmade book opening to 11,5m
First edition of 500
Publication date: May 2014
ISBN: 9788890981718
Photographer website: www.nicolodegiorgis.com

Nicoló Degiorgis

Publisher's Description

This book documents a hitchhike along China’s Cross-Desert Highway, a road built in the mid 1990s to help the extraction of oil. It stretches for more than 500km from north to south across the Taklamakan, one of the world’s most inhospitable deserts. The journey records the road and its people - truck drivers, cotton pickers, oil well workers and prostitutes, whose lives are caught up in the dependancy and desolation of the prospering oil industry.

Book details
Author: Nicoló Degiorgis
Design: Nicoló Degiorgis and Walter Hutton
Format: hardcover, concertina binding
Handmade book opening to 11,5m
First edition of 500
Publication date: May 2014
ISBN: 9788890981718
Photographer website: www.nicolodegiorgis.com

£35.00

Picture of Disco Night  Sept 11 SIGNED

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Disco Night Sept. 11 is a chronicle of America's wars from 2006-2013. The photographs shift back and forth from the wars in Iraq and Afghanistan to the USA, unsparingly capturing the violent, ceaseless cost, but also the mystery and the madness, the beauty and absurdity at the core of each conflict. The narrative is complemented by nineteen gatefolds which elaborate on places and individuals.

Photographs are fragments, sometimes only loosely tied to important experiences. An extensive text records some of the missing pieces. The stories that precede and follow the moment of the photograph, conversations with soldiers, anonymous graffiti that's part confession, part boast.

Disco Night Sept. 11 is an expansive yet intimate account of this defining era of history.

See here for further details and selected images.

Dimensions: 8.5" x 10.5" | Pages: 276 including 19 Gatefolds | Photographs: 188 | Designer: Yolanda Cuomo Design

Peter van Agtmael

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Disco Night Sept. 11 is a chronicle of America's wars from 2006-2013. The photographs shift back and forth from the wars in Iraq and Afghanistan to the USA, unsparingly capturing the violent, ceaseless cost, but also the mystery and the madness, the beauty and absurdity at the core of each conflict. The narrative is complemented by nineteen gatefolds which elaborate on places and individuals.

Photographs are fragments, sometimes only loosely tied to important experiences. An extensive text records some of the missing pieces. The stories that precede and follow the moment of the photograph, conversations with soldiers, anonymous graffiti that's part confession, part boast.

Disco Night Sept. 11 is an expansive yet intimate account of this defining era of history.

See here for further details and selected images.

Dimensions: 8.5" x 10.5" | Pages: 276 including 19 Gatefolds | Photographs: 188 | Designer: Yolanda Cuomo Design

£50.00

Picture of All in (Signed)

Publisher's Description

The images in this series are of heroin bags collected years ago during a period of the Artists own addiction to the Drug.

Graham McIndoe became intrigued by the typography and design of the glassine envelopes used to package dope, stamped and marked with references to the popular culture of the time like Twilight, Crooklyn and New Jack City. Dealers branded and marketed their product like entrepreneurs in any business, pairing names like Dead Medicine with a skull and crossbones to appeal to risk-takers, or an airplane labeled First Class to give the illusion of grandeur.

The addict becomes the ultimate consumer of the ultimate product -- following a trail of quirky street names carefully chosen to be instantly recognizable to those in the know. But there is nothing hidden about the references to good times (So Amazing, True Romance, High Life), juxtaposed with reminders of the gamble (9 Lives, Black Jack) and the reality of addiction (Flat Liner, Undertaker).

Lou Reed wrote the song “Perfect Day” to describe being on heroin, and that's what every addict chases. But the marketing of that drug, like any product, doesn't always lead us to what's promised. These images are a reminder of both the power of desire and the promises we as consumers want to believe will somehow change our lives.

Publisher: Little Big Man

A limited print run of 350 copies.

Graham McIndoe
The images in this series are of heroin bags collected years ago during a period of the Artists own addiction to the Drug.
£47.95

Picture of Costa (Signed)

Publisher's Description

"14 kms south from Lisboa, where I live, is Costa da Caparica. 
During the last years I often found myself returning to this magnetic place."
José Pedro Cortes

Costa da Caparica is a place, south of Lisboa - a strip of land that exists between the last stretch of civilization and the beach.

In COSTA, we wander through this territory: shacks, outmoded architecture, remains of houses, dirt left by the tide; an agglomeration of sand, vegetation and streets – a peripheral, end-of-the-line location. We are flooded by a strange luminosity; a dazzling and mysterious light which imbues these spaces with a disconcerting and unreal atmosphere, like something seen while in a hypnotic state, encouraging the spectator to participate in a suggestive and paradoxical exploration of individual experience. 

Publisher: Pierre von Kleist

Size: 210 x 305 mm

80 pages

José Pedro Cortes
In COSTA, we wander through this territory: shacks, outmoded architecture, remains of houses, dirt left by the tide; an agglomeration of sand, vegetation and streets – a peripheral, end-of-the-line location.
£28.00

Picture of Japan Drug (Signed)

Publisher's Description

"It was 1997 and the new millennium was imminent, one could feel the tense anticipation about what was to come next.
I was alone in Japan, a place I had never been before. During the day I would go out looking for my own sense of the place, photographing, exploring notions of center, a place of convergence, as the world expanded before me in its uncertain course. 

Many years have passed and I felt a need to go back to these images. 
The millennium is long gone but the vertigo of uncertainty is yet to disappear." 
António Júlio Duarte.

Publisher: Pierre von Kleist

Size: 265 x 185 mm

136 pages 

Edition of 600

All books are numbered and signed.

António Júlio Duarte
"It was 1997 and the new millennium was imminent, one could feel the tense anticipation about what was to come next. I was alone in Japan..."
£28.00

Picture of Tokyo Diaries (Signed)

Publisher's Description

In 2009 André Príncipe and Marco Martins travelled to Tokyo to shoot a film about elliptical narratives and the importance of the diaristic practise in Japanese photography.

During a month and in a totally improvised way, the Portuguese filmmakers shot hours of 16mm footage and thousands of photographs of their daily life as well as their encounters with photographers such as Nobuyoshi Araki, Daido Moriyama, Takuma Nakahira, Hiromix, Kohei Yushiyuki and Kajii Syoin. Traces of a Diary was shown in film festivals around the world and received the jury prize at Documenta Madrid.

Initially, the film was going to be a mixture of still photographs and 16mm material but during editing it was decided that only the moving images were to be used. About one hundred rolls of Tri-X 400 film remained in a box, unused. These photographs are now revisited in Tokyo Diaries, a book that is as much about photo books and the way we read them as it is about Japanese photographers. Special appearance by legendary designer Kohei Sugiura.

Publisher: Pierre von Kleist Editions

Size: 240 x 170

256 pages

Marco Martins
In 2009 André Príncipe and Marco Martins travelled to Tokyo to shoot a film about elliptical narratives and the importance of the diaristic practise in Japanese photography.
£30.00

Picture of Paloma Al Aire SIGNED

Publisher's Description

Ricardo Cases' third photobook deals with an unusual subject: the practice of pigeon racing in the Spanish regions of Valencia and Murcia, a game consisting of releasing one female pigeon and dozens of male pigeons that chase her trying to get her attention. None of them ever gets too intimate, but the winner is the one that spends the most time close to her. The winner is not the most athletic, the toughest or the purest in breed but the more courteous, the one showing more constancy and having the strongest reproductive instinct. The macho.

Raising a male champion entails prestige and profits. Painted in a combination of primary colours, like a flag or a soccer kit, the male pigeon raised and trained to mate becomes a projection of the pigeon-keeper, who embodies its sportive, economic and sexual success or failure in the community. Far from the harsh reality of his daily life, the colombaire has a second life where he can get to the top. He just needs a champion pigeon. The pigeon-keeper stays on the ground, while his projection is able to fly.

The present series examines the game as a symbolic act, a projection and a way of relating to the world. A group of men running through the countryside behind their male pigeons, observing their mating performances, discussing the rules and arbitrations… It refers to the ethnographic documentation of remote tribes rituals or to the group of children who invent a game while discovering the world.
The second edition presents two changes: a picture has been replaced for the following one in a sequence and the back cover features now the names of a new range of competing ‘palomos’. Only number 10 (Carmen Marín, Ricardo’s mother’s, to whom the first edition was dedicated) remains unchanged. Number 19 in the list reads Víctor Galdú Clemente, a pigeon racing referee recently deceased to whom Ricardo dedicates the present edition.

SIGNED COPIES

Publisher: Dalpine

Size: 210 x 150 mm
75 pages
Ricardo Cases
Ricardo Cases' third photobook deals with an unusual subject: the practice of pigeon racing in the Spanish regions of Valencia and Murcia, a game consisting of releasing one female pigeon and dozens of male pigeons that chase her trying to get her attention.
£28.00

Picture of Will They Sing Like Raindrops or Leave Me Thirsty? SIGNED

Signed copies

From a text by Colin Pantall (first published in the BJP, Oct 2013)

Life is good for 25-year-old Belgian photographer Max Pinckers, who was singled out as one of ‘The Ones To Watch' in our January edition. His first book, The Fourth Wall, sold out its first edition of 1000 self-published copies, won the City of Levallois Photography Award and was nominated for the Photobook of the Year Award by Martin Parr at the Kassel Fotobookfestival.

Will They Sing Like Raindrops or Leave Me Thirsty focuses on honour-based violence in India; in particular, the attacks on women and men who fall in love, or have a relationship against their family’s will. One organisation fighting this violence is the Love Commandos, a voluntary group that originally formed to protect couples who celebrate Valentine’s Day from attack by extremists. 

“I had heard of the Love Commandos and approached them to make a story. They are a small team of five guys based in Delhi that provide assistance to couples who are in love but face family opposition – mainly due to caste or religion. In India most people still have arranged marriages, but young people do fall in love and run away together. The main function of the Love Commandos is to allow people to do this in safety and in accordance with Indian law. Part of their mission is to prevent honour killings from happening. They take in young couples and provide protection, and sometimes they send in people to rescue couples who are at risk. There are eight shelters in New Delhi and one in Mumbai, and they have 50,000 volunteers, many of whom have been helped by the Love Commandos themselves.”

It is a real story featuring people who are in danger of violence or murder. But instead of emphasising the record element of the story, Pinckers pulled in a fictional direction using a visual language that borrows from Hindi cinema (Bollywood) and its depiction of relationships and love.

See here for sample images.

Self published

Softcover with flaps
210 x 290 mm
232 pages
140 color photographs
Full colour offset
Edition of 1000
Design by Jurgen Maelfeyt

Max Pinckers
Will They Sing Like Raindrops or Leave Me Thirsty focuses on honour-based violence in India. Signed copies
£45.00

Picture of Talking to Ants SIGNED

The photographs in this series were made in East London between 2009 and 2013. They feature objects and creatures that I sourced from the local surroundings and placed into the body of my camera.

I hoped through this method to encourage the spirit of the place to clamber aboard the images and be encapsulated in the film emulsion, like objects embedded in amber. My aim was to evoke the feeling of the area at the same time as describing its appearance as the subject was both in front and behind the camera lens at the same moment.

I like to think of these photographs as in-camera photograms in which conflict or harmony has been randomly formed in the final image depending on where the objects landed.

Stephen Gill

Sample images

Talking to Ants
Photographs by Stephen Gill
Published in 2014 by
Cloth bound hardback
Silk screen and foil blocking cover
34 Colour Photographs
250mm x 250mm
72 pages

Signed copies

Stephen Gill

The photographs in this series were made in East London between 2009 and 2013. They feature objects and creatures that I sourced from the local surroundings and placed into the body of my camera.

I hoped through this method to encourage the spirit of the place to clamber aboard the images and be encapsulated in the film emulsion, like objects embedded in amber. My aim was to evoke the feeling of the area at the same time as describing its appearance as the subject was both in front and behind the camera lens at the same moment.

I like to think of these photographs as in-camera photograms in which conflict or harmony has been randomly formed in the final image depending on where the objects landed.

Stephen Gill

Sample images

Talking to Ants
Photographs by Stephen Gill
Published in 2014 by
Cloth bound hardback
Silk screen and foil blocking cover
34 Colour Photographs
250mm x 250mm
72 pages

Signed copies

£35.00

Picture of Best Before End SIGNED

The series Best Before end is an attempt to make a series of images that somehow reflect and encompass the intensity of inner city life through not solely exercising photography to depict a chosen subject, in this case part of the image content itself plays a role in creating the images making a more direct physical presence in the image itself. The images were made in East London from where the drinks were also sourced. The colour negative films were part processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. The softening allowed for manual stretching, moving, tearing and distortion of the layers of film emulsion to take place, and further manual shifts were added with a soft brush whilst the emulsion was still pliable. 

Stephen Gill

Tiredness can indeed kill but then whats death if not a big Chandleresque sleep, in which wiseacre gumshoes drive to the end of the night only to discover that its their own involvement in the case that led to the murder-spree. Ill sleep when Im dead, for all sleep is the sleep of reason we need our wits about us: its an accelerated world out there, demanding split-second decision making capability to hit the right button so as to make the right multi-million dollar trade, or order the next pizza, or download the next app. We swim through an orangey brinelight: a carbonated energy field of unified, fizzing awareness; its dreamlike this existence most certainly but its a waking dream, and for that we have energy drinks to thank.

Stephen Gills beautiful images, which incorporate energy drinks as an integral part of their processing, capture this strange state of being at once driven and aqueous, simultaneously sweet and oh so bitter. The Best Before End series, memorialises the freewheeling Decline of the West; which, to paraphrase Alfred Jarry, the founding father of pataphysics, is best conceived of as a downhill bicycle race sponsored by a major-brand energy drink, in which all of the pursuit riders have the red head of the Minotaur. For myself, Im way out in front of them and pedalling HARD.

Will Self

See here for sample pages 

Published in 2014 by Nobody in association with Archive of Modern Conflict
Cloth bound hardback
43 Colour Photographs
362mm x 265mm
72 pages

Signed copies

Stephen Gill

The series Best Before end is an attempt to make a series of images that somehow reflect and encompass the intensity of inner city life through not solely exercising photography to depict a chosen subject, in this case part of the image content itself plays a role in creating the images making a more direct physical presence in the image itself. The images were made in East London from where the drinks were also sourced. The colour negative films were part processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. The softening allowed for manual stretching, moving, tearing and distortion of the layers of film emulsion to take place, and further manual shifts were added with a soft brush whilst the emulsion was still pliable. 

Stephen Gill

Tiredness can indeed kill but then whats death if not a big Chandleresque sleep, in which wiseacre gumshoes drive to the end of the night only to discover that its their own involvement in the case that led to the murder-spree. Ill sleep when Im dead, for all sleep is the sleep of reason we need our wits about us: its an accelerated world out there, demanding split-second decision making capability to hit the right button so as to make the right multi-million dollar trade, or order the next pizza, or download the next app. We swim through an orangey brinelight: a carbonated energy field of unified, fizzing awareness; its dreamlike this existence most certainly but its a waking dream, and for that we have energy drinks to thank.

Stephen Gills beautiful images, which incorporate energy drinks as an integral part of their processing, capture this strange state of being at once driven and aqueous, simultaneously sweet and oh so bitter. The Best Before End series, memorialises the freewheeling Decline of the West; which, to paraphrase Alfred Jarry, the founding father of pataphysics, is best conceived of as a downhill bicycle race sponsored by a major-brand energy drink, in which all of the pursuit riders have the red head of the Minotaur. For myself, Im way out in front of them and pedalling HARD.

Will Self

See here for sample pages 

Published in 2014 by Nobody in association with Archive of Modern Conflict
Cloth bound hardback
43 Colour Photographs
362mm x 265mm
72 pages

Signed copies

£44.00

Picture of Something Like a Nest (Signed)

Publisher's Description

Something Like a Nest is photographed in the English countryside. Despite more of us living in cities than ever before, or perhaps because of this, the rural idyll – countryside as a place of escape and continuity – is still a potent image. But of course when you stand in a field, farmyard or village the stuff in front of you doesn’t conform easily to this cliché; it’s often more interesting than that. This is a place shaped by both the willing of bucolic images into a physical form and the expediency of the factory. Somewhere things are produced (and consumed) through a combination of the most fundamental ‘natural’ cycles and the complex technology and systems of twenty-first century global capitalism. In this book I hope to create a countryside in which these threads exist together where the noise of contemporary life bleeds into pastoral ideas and conventions.

See here for sample images.

Andy Sewell
Something Like a Nest is photographed in the English countryside. Despite more of us living in cities than ever before, or perhaps because of this, the rural idyll – countryside as a place of escape and continuity – is still a potent image.
£40.00

Picture of Pool, The (Signed)

Publisher's Description

Iain’s book features images entirely from one small pool – no more than 2 meters wide, close to his house. It is fringed by grasses and ferns, and surrounded by birch trees. The images explore the layers of shapes and shadows reflected in the surface of the pool – a hidden abstract world which is at first chaotic and lost to the naked eye.

Publisher: Triplekite

Size: 235 x 245 mm

60 pages

Iain Sarjeant
Iain’s book features images entirely from one small pool – no more than 2 meters wide, close to his house.
£26.00

Picture of Portrait of Hackney SIGNED

Publisher's Description

'A Portrait of Hackney' is an intimate look at the ever-changing face of Hackney: the complexity, the contradictions, the clash of cultures. Portraits and landscapes are set against overheard snippets of conversations from the area. Zed Nelson has lived his whole life in Hackney - it was here he learnt to ride a bike, took his first drugs and lost his virginity. When he was young this was a place to get away from but now he has fallen back in love with the area.

A special, fully cloth covered, collector's edition of A Portrait of Hackney by Zed Nelson presented in a bespoke cloth covered clamshell box complete with signed and numbered limited edition print.

Collector's Editions are limited to 250 copies.

Publisher: Hoxton Mini Press

Size: 145 x 205 mm

Zed Nelson
'A Portrait of Hackney' is an intimate look at the ever-changing face of Hackney: the complexity, the contradictions, the clash of cultures. Portraits and landscapes are set against overheard snippets of conversations from the area.
£45.00

Picture of East London Swimmers SIGNED

Publisher's Description

East London Swimmers comprises more than 50 colour photographs of swimmers dressed for normal life and in their swimming gear. The images, all taken at the London Fields Lido, are combined with telling personal quotes and together they reveal the secret life of Hackney swimmers who brave all conditions to escape city life. 

"I got into swimming after getting caught up int he tsunami in Thailand. I was on a family holiday when the wave came in and I managed to grab my son from his pram. When I returned home I had a fear of open water so I entered a race and my passion for swimming was born. Last year I swam from Spain to Morocco. Next I'm swimming from Robben Island to Cape Town"

A special, fully cloth covered, collector's edition of East London Swimmers by Madeleine Waller presented in a bespoke cloth covered clamshell box complete with signed and numbered limited edition print.

Collector's Editions are limited to 250 copies per title.

Publisher: Hoxton Mini Press

Madeleine Waller
East London Swimmers comprises more than 50 colour photographs of swimmers dressed for normal life and in their swimming gear. The images, all taken at the London Fields Lido.
£45.00

Picture of #IPHONEONLY signed

Publisher's Description

A book of landscape photographs, made entirely on a camera phone.

Julian Calverley is a British born landscape and advertising photographer.

Although known for his advertising and large scale atmospheric landscape work, the last couple of years have seen him embrace camera phone photography. It had never really occurred to him before to use such a device, having always considered his ‘professional’ camera equipment to be the only real choice.

The spontaneous and portable nature of the iPhone, the availability of some excellent image processing apps and the ability to share the work with a wider audience via various microblogging platforms, makes it a powerful and liberating tool, capable of some surprising results.

Often when he's out in the landscape, he'll find himself waiting for a certain quality of light or sea state, or for weather to change, and it's those moments when he'll often take a picture or two with his phone camera. Sometimes it is simply to record the scene in front of him, other times to take a portrait of his ALPA camera, a sort of 'lonely selfie' or memento, from simply being there, and often when scouting a location, the camera acts as a visual notebook, to record specific locations to which he'll return to.

This book is a collection of 60 of those images.  See here for sample images.

Signed copies exclusive to Beyond Words

Size: 210 x 148 mm

72 pages, 60 colour photographs

Julian Calverley
A book of landscape photographs, made entirely on a camera phone.
£20.00

Picture of Citizen Manchester (Signed)

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

In 2008, Manchester decided to embark on a counter-cyclical project, much as the city fathers had done in the last great recession, and invest significantly in two civic buildings, two buildings that were cornerstones of the making of the first modern industrialised city: Manchester Town Hall Extension and Manchester Central Library.

Early on in this major redevelopment project, artists Dan Dubowitz and Alan Ward were given privileged and open access to witness this transformational period in the life of these two iconic buildings. Through large-format photographs and interviews taken and conducted over a period of eighteen months, they captured the moment when the city’s citizens and workers had been locked out and the spaces were being stripped bare; revealing both a glimpse of what they had been and what they might become.

The artwork provides insights on the reciprocal relationship between people and place, and reveals how the refurbishment of a building can go far beyond physical refurbishment, questioning the relationships between a city, its citizens and place.

Publisher: Manchester University Press

Size: 380 x 380 mm

160 pages

Dan Dubowitz
In 2008, Manchester decided to embark on a counter-cyclical project, much as the city fathers had done in the last great recession, and invest significantly in two civic buildings. Artists Dan Dubowitz and Alan Ward were given privileged and open access to witness this transformational period in the life of these two iconic buildings.
£45.00

Picture of Salaryman Project business schedule (SIGNED)

Publisher's Description

"A fascinating photography project (...) situated somewhere between documentary style street photography and concept art" Bill Kouwenhoven

"At the sight of such familiar scenes, we Japanese can’t help having a vague feeling of sadness. However, in Bruno’s work, as if by magic, these men undergo metamorphosis and turn into fascinating and mysterious apparitions." Kotaro Iizawa

"A wonderful object that embodies its contents entirely" Joanna Creswell

The Salaryman Project is on a double mission. On one hand, it explores images of masculinity and normality in the world of Tokyo office workers (aka salarymen). On the other hand, it is an observation of the sense of the season in the Japanese capital.
Obscuring the faces is an attempt to adapt in a creative way to the increasing constraints of portraits rights on the publication of candid street photography. As a result, mystery and poetry seem to blossom around the supposedly boring corporate world.
The work is published as an illustrated professional agenda.

Every book is signed and stamped and comes with a little extra: a "confidential" zine with the SP2014.   Plus a small print (10x13cm) of an unpublished photo 

Sample images

Size: 182 x 257 mm

64 pages, 53 colour photographs

Bilingual (Japanese / English)

Bruno Quinquet
The Salaryman Project is on a double mission. On one hand, it explores images of masculinity and normality in the world of Tokyo office workers (aka salarymen). On the other hand, it is an observation of the sense of the season in the Japanese capital.
£45.00

Picture of Spring in the Temple of Plastic Pillars (SIGNED)

Publisher's description

A quietly radical look at the idea of the English wood is presented in Mark Mattock’s first self-publication, Spring in the Temple of Plastic Pillars. A series of acute observations of spring’s bright energy illuminating a neglected, forgotten space have been made and sequenced to create a photobook as an individual piece of work, that describes the place and experience of it.  Subtly layered and a sort of modern visual version of the traditional ‘wild wood’ folk tale, its complexities, real and imagined, are slowly revealed whilst journeying through it.  A little step beyond photography’s well trodden ‘terrain vague’ it is both document and expression of and through landscape... 

Self-published 2012

Size: 22 cm x 29 cm

80 pages, 63 colour plates

First edition of 500 copies

Mark Mattock
Signed Copy.
£35.00

Picture of Where rude boys never think to look (SIGNED)

Publisher's description

The tightly woven imagery of Mark Mattock’s second photobook of the English wood reflects the intensity and complexity of the bird’s song in whose space the visual recording took place: “This work was made – very deliberately – within the adjoining breeding territories of a small group of nightingales; Africans who arrive each spring to raise broods and briefly re-assume their roles as the quintessential English songsters. Epitomising the romantic notion of spring in the English wood since medieval times. Age old metaphors for human love, lust, devotion and liberty. But also: loss, melancholy, sacrifice and ‘eternal pain’. The male’s mesmerising territorial proclamations are delivered from deep inside the woodland undergrowth with astonishing power and clarity. A power that arrests  and compels attention. They were, of course, a regular accompaniment. Characteristically however, the secretive ‘drab’ birds were rarely seen”… 

Self-published 2013

Size: 220 x 290 mm

96 pages incl 9 gate folds.

First edition of 500 copies

Mark Mattock
Signed Copy.
£38.50

Picture of Angler Who Fell to Earth (SIGNED)

Publisher's description

In his third book, Mark Mattock has once again subtly connected a small piece of English landscape he’s intimately familiar with to ideas far beyond its boundaries without really venturing far from it, inventing a perceptive work of landscape, culture and memory.  A surprising and initially disparate collection of images made in and relating to this particular space has been tightly bound together to be possibly re-imagined as a single work. A playfully eclectic mash of visual lyricism intertwines, of all things, a fishing commute with an ‘other worldly’ arrival!  Layered and loaded it delights with every realisation or recognition and which for some will include the referential and nostalgic homage to, one suspects, a significant early influence.

The idea that a photobook has much of the creative potential of a song is fundamental to Mattock’s work.  He commonly speaks of making images in terms of making music: “if you consider it in this context it makes almost instinctive sense; the physical attributes of the combined images being the sound: music, melody, beat. Each image, a sentence, a line of lyrics. You have composed something that can also express, describe, inform, imagine, tell a story, be a message - personal, universal; unconstrained by photography’s  documentary straitjacket. You don’t have to believe it all literally first. Nothing evokes more powerfully than favourite records; paradoxically photography fails to do this anywhere near as effectively.  More and more my books emerge out of photo jamming sessions; visual riffs and sentences slowly build up into something you can then run with”.

With its foil-stamped 70’s nail polish coloured type on the cover, The Angler who fell to Earth instantly hooks, and reveals more on every play...

Self-published 2014

Size: 220 x 290 mm

84 pages

First edition of 500 copies

Mark Mattock
Signed Copy.
£30.00

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