The initial impulse which motivates us..

The Tarot (process) #1

I have noticed similar narratives emerge from both photographs and tarot cards. The tarot is made up of individual facets of the human condition which are distilled and represented in a single card which together as a pack can be viewed as a map of consciousness. In a traditional tarot reading, cards are turned over and placed into sequence in response to a question and a narrative emerges from between the cards and begins to connect them. Photographs are in turn facets themselves, distilled moments from a lifetime which, when viewed together, map out the story of our own lives. The initial impulse which motivates us to raise a camera in the first place stages the context (or question) which lies at a photograph's heart and contains within it the full unabridged biography of its author. Meaning photographs, like the tarot, are powerful psychological tools for exploring facets of our own psyches which may not otherwise be accessible to us and can only be read and comprehended as images.

Reality will remain a true mystery..

 

Altered States of Agoraphobia (Monograph)

This month I got my first, hands on, contact with my book in the making (if only in part) when I was sent all the pages, prints and postcards that needed to be signed and numbered, before being returned to Bologna, Italy, so that it could be published and shipped (now in May 2022) to all those that have shown faith and pre-ordered a copy. This is a journey which began almost a year ago when I answered an open call from Eyeshot Publishing to submit a portfolio of photographs to be considered for a publishing contract. After Eyeshot received well over a thousand entries world wide, I was fortunate enough, along with 7 other photographers, to be offered the opportunity to make a monograph with them.

The book is a selection of 123 of my photographs over 186 pages with a picture index in the back and an introduction generously contributed by Blake Andrews in the front. The final image selection was made by Marco Savarese, editor in chief of Eyeshot Publishing and these were chosen from my initial submission of 200 photographs. These pictures were, in turn, selected from an original personal edit of around 500 images from a 5 year archive of a few thousand.

It would be true to say I had some trouble giving up control of my work for the sequencing stage of the book's creation. Although I did not yet have a solid idea about how I was going to sequence this work myself, I have always considered the assembling of my own photographs into sequence as an integral part of the overall creative vision of a finished project. To give this up has been a process of having faith and trusting my publisher and simply letting go of my fears and anxieties. Fortunately for me, Eyeshot has their own vision for their brand and it has been an exciting and enjoyable experience for me to see the book take shape through their eyes.

Eyeshot has also been receptive to any changes to the image pairings that I have wanted to make and when they presented the first complete edit of the book for me to review digitally, they accommodated these changes to the sequence that I felt really needed it. This has set my mind at rest and the finished book is the result of what has been an inspiring and enjoyable collaboration. Eyeshot's sense of style and design is elegant and their printing on Fedrigoni paper and packaging is all top quality. There will be two editions published, a standard “white” edition with a run of 420, costing 54,90 Euros ($56,90) and a limited “black" edition of 30 copies with a signed and numbered print included, sold at the collectors price of 210 Euros ($221) making it a complete run of 450 copies.

Although I have always known the physical dimensions of the book being 22 X 27cm, these numbers have never meant much to me and it was not until about a week ago when photographer’s David Graham and Vasilikos Lukas both shared pictures of their own recently published Eyeshot monographs, that I got, for the first time, an idea of my own books size and also a feel for its look and quality. I now have a tantalizing image of what it might be like, if only in my mind. These are all ephemeral, night time, doodle-bug thoughts though really. I am aware of how big the gulf is between the real world and the virtual one and how different an image can look on a screen compared to that of a physical print and the final goodnight thought is, the book's reality will remain a true mystery for me until I can actually hold a copy of it in my hands.

Altered States of Agoraphobia by Simon Kossoff is available to order from Eyeshot Publishing here.

I was never going to be able to leave..

You know when you have driven far enough, you can feel it. There are several stages to leaving and each stage is assigned a distance. These distances can be both physical and mental. Each distance is unique to each of us, as is the stage order to the leaving itself. The stages are only consistent across time with the first initial thought and the last physical action. You do know when you have driven far enough, but to truly leave a place is not such an easy task. There are some places that I left a long time ago, only to later discover that I was still there, emotionally, and the place was tangled up inside me and I was never going to be able to leave, no matter how far I drove or for how long. Sometimes a place is a person and my dreams have become a purgatory of souls that I cannot let go of and I have, over the years, become a haunted house where I have been afraid to spend the night.. So with this now being said, a question now begs; why leave anywhere ever again?