Ceremony Press

Many photographers have experimented with the 'Call & Response' model of collaboration, where images function like links in a chain — a visual duel, or game of chess. This book, in which these two photographers pair up their photographs, feels more to me like a matching card game.

“Chiasm” describes in biology the point at which two filamentous structures like a tendon or nerve diagonally intersect in an X, most notably the nerves connecting each eyeball to the brain’s opposite hemisphere. In language, chiasmusdescribes a compound sentence in which, without word repetition, the first half’s grammar is inverted in the second.

Take the second spread. The metal fence gives definition to the green fabric beneath, the ripples’ form structured by the shadow projected upon it. On the right, reflections in undulating metal break down the green wall’s structure. They are parallel in content; in relationship, inverted. As discrete visual objects, they achieve a kind of synthesis.

Though contrived well with the art of close selection, all these pictures are true to reality; they aren’t heavily manipulated, aren’t synthetic. We see these things in daily life, and there little of the broken brickwork, tangled wires, street puddles, plastic packaging and garish shop signs are things we particularly want to notice.

Yet here their aesthetic potential is recognised and demonstrated. There is real value in sharing such curios with others, for, through love of visual communication, a project like Chiasm might emerge. As Dinelle & Williams have, two people might find crossover in their ways of seeing — each side sharing a little of the other, but never quite overlapping.

A collection of poems by Berlin based artist Sisi Savidge.

"We drip through our days, connecting faster in flirt-filled springs before summer, hoping to enjoy the weather without ever needing to talk about it. Ending this kitchen sweetness, our pints spill onto carpets littered with rust as the sweat from our eyelids is once again dry and we look into the faces of the people we knew how to love; realising all that is left and quiet between us."

"The American road trip has an important place within the history of photography as David Campany outlines in his book ‘The Open Road: Photography and the American Road Trip’ (Aperture, New York. 2014). The many journeys of photographers travelling America and experiencing life on the road has resulted in iconic bodies of work that have contributed to our visual awareness of ‘American Surfaces’ (as Stephen Shore’s book title clearly articulates). In the series ‘This Way For Fun!’ we are presented with a different perspective and unusual view of some familiar American scenes. Brook’s online American road trip through open access CCTV cameras offers a different insight.

Whilst the images themselves are intriguing, this series also manages to capture something outside of the frame. ‘This Way For Fun!’ is able to represent the state of mind of a nation. The security conscious individuals who set up cameras to keep watch over banal scenes manage to communicate their fear, paranoia and insecurities to the viewer. This series also outlines the many opportunities for voyeurism with new technology. Photography has often been described as a ‘window on the world’, maybe ‘cameras of the world’ would be appropriate to describe the sheer scale of cameras available that Brook was able to utilise, unbeknown to the individuals who installed them.

Please pay attention as you travel through these pages. These seemingly quiet and distant images of an America devoid of people, captured using surveillance technology, may appear banal on the surface but they reveal far more than there is to see here. Enjoy the ride!"

- Adrian Davies

Kathryn Wood studied Fine Art Photography at the Glasgow School of Art and is now working from her studio based hill-farm in The Peak District National Park.

Prawn Dumping is an environmentally-inspired photographic project, a mixture of images, performance and fractured narratives spliced together recounting several trips the artist made to various hill-farms in the North West of England. By relocating back to the farm that the artist was raised on, enables her to capture the everyday experiences of farming and rediscover the environment that she had grown increasingly detached from.

Central to Wood’s practice is a direct physical engagement with the labour of farming. During her trips to the Peak District National Park she began to take on the role of the farmer, from which she makes photographic works about the experience; the resultant works portray a personal insight into the implicit care and consideration small-scale farmers have for both their animals and their working and living environment.

Bringing together a survey of work in various forms from 2017-2018. Installation views, studies, photographs and details from paintings are carefully curated to engage the viewer in a conversation with what appears on the pages. These paintings explore process-led abstraction, improvisation and the possibilities of what it means to make paintings within contemporary art practice now.

10 copies of the 100, have been hand painted by the artist.