Jeremy Welsh: shadows / markings / other stories
The photographic sequences of the different chapters are made up of imagery captured (an important verb since the artist clearly expresses his choice of an observational mode – rather than a directorial mode) from the world at large, imagery generated and collected over many years of praxis; the book does offer the sense of mining a rich archive of imagery.
shadows / markings / other stories
Jeremy Welsh (2009)
Price: NOK 160
Shadows are essential. Without shadows, no photography, no contrast.
Remarks about the book
The motifs themselves are fascinating. the modes of cast shadow on natural and man- made surfaces, on mist and water and rock, and across different geometries, with different relations to order and chaos, lead not to the familiar technical debates on umbra and penumbra, contrast and fall-off, but to suggest the world as a repository of memories. Shadows may be ﬂeeting or, as Welsh's text suggests, belong to history as such permanent artefacts as the shadows of the victims of Hiroshima. Our shadows are a weightless passage of self through the world: as prfoundly attached to the living as their shoes, which take their form from their wearers, and outlive the weight of the body that wore them.
Markings likewise outlive purpose, and like shadows their
meanings dissipate over time. The yellow and the blue of waters
reﬂecting a dawn sky, rufﬂed by a dog swimming after a ball, create
designs, like those of conttrails, but designs whose designers are
only marginally human: the accident of design in a circulation
between the laws of physics, the technological world, and the
political world of people: these contingencies, hovering at the
brink of meaning, or outliving it, re-emerge across the works with
great intelligence, wit and a poetic mode of contemplation which is
characteristoic of Welsh's work, in which the verbal and the visual
exist in complex relations of symbol and utterance, simulation and
Written by Sean Cubitt, Professor of Media Studies, University of Melbourne
The photographic sequences of the different chapters are made up of imagery captured (an important verb since the artist clearly expresses his choice of an observational mode - rather than a directorial mode) from the world at large, imagery generated and collected over many years of praxis; the book does offer the sense of mining a rich archive of imagery. The imagery is both skillfully sequenced, often along the line of repetition/change. The aesthetics is precise and consistent, all is in balance and the artist is at home in what he is doing. In full control, yet with a keen sense of exploration and discovery; a photography that is also about unfolding and encountering the visual world, without always knowing what it will reveal. The reader follows the photographic sequences - sequences as they do have a sense of direction, even narrative at times, and do not only appear as images collected into a book - with smooth attention, with joyful recognition in meeting the motifs proposed and recognizing his/her own experiences with similar motifs: the book is kindly attractive, mildly alluring, and holds its viewer with safe and ascertained precision. A pleasure, simply, to read and look through. And to enjoy a 2nd and 3rd time through.
Written by Jan‐Erik Lundström , director of Photography Museum, Kalmar.
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Price: 160NOK / 20€