Thanks for coming back.
After the last couple weeks, with the anger and the sorrow, I wasn’t sure if I’d see you today.
You might not realize it, but I always try to keep the balance in mind. If I hit you with some really heavy stuff for a few weeks, then I think it’s time for breather.
Lately, I’ve also had the opportunity to alternate male and female photographers each week.
Like I said, balance.
So today, we’re going to have a really short review. On the off chance you really like the long articles, and want to see them every time, I’ll offer my apologies.
Last week, I began making connections between the books that were sent to me by some very talented female photographers. I’m fairly sure I use the word emotional.
It’s a tricky word, emotional, and a tricky premise to suggest that women are more emotional than men. It’s often used as a pejorative term, and I should know, as it’s been hurled my way many times.
We all have emotions. (That should be blindingly obvious.) But traditionally, men have been less comfortable exploring and understanding their emotional reality. We all know the stereotype of the macho, stoic, heroic, cowboy type.
It’s been held up as a model forever, and only recently has “emo” been an acceptable state of mind for certain subsets of the male population.
Today’s book, “Herida y Fuente,” was made by an American photographer, Tom Griggs, who’s been living in Colombia for a long time. (Published by Mesaestander) He runs the blog fototazo, and works hard to support Latin American photography.
He’s definitely a good guy.
But I hadn’t seen his work before this book showed up a few months ago. I finally got to take a look at it today, and found it to be soulful, soft, and definitely emotional.
There’s a lot of visual darkness in this book, but it’s mostly the kind that serves as a foil for little spots of illumination. (Chiaroscuro, if you will.) The pictures are lovely, moody, and indirect. As the title is in Spanish, and there’s no English text at all, you’re on your own as far as interpretation goes, unless you speak Spanish.
(I know some, but not enough to decipher the title without Google’s help.)
Beyond the repetition of the black color palette, there are hints of discord. We see glimpses of the female body, but rarely the whole thing. A partner? A wife?
There’s one photograph that reminded me of a breast self-examination, so I wondered if there was an undertone of cancer?
But then we see pillows piled on the couch, like someone had to sleep there. Later, there’s a made bed that no one has slept in. In that sense, the book feels like a set of stills from a movie by one of those crazy Mexican directors.
There are flowers, and butterflies, and a sensibility I would feel comfortable describing as feminine. Unlike some people, I don’t see that as a negative term. Lots of artistic guys are comfortable with their emotions.
Eventually, I did translate the title, which means “wound and source.” I have no idea if this is a literal narrative, but the title clearly pushes us towards seeing this as a romantic breakup, a tumultuous relationship, or a legitimate battle with illness.
There’s a long poem on the back cover, also in Spanish, but I didn’t bother to run it through the software. I figure if Tom wanted us to read it in English, he would’ve written it in English.
Here are some of the words I made out: Contacts, tangents, proximity, separation, distance, bodies, corrosions, rooms, concrete forms, poetic manners…you get the point.
After the disconcerting reviews the last two weeks, I see today’s book as a heartfelt love poem tucked inside a photo book.
Hope you like it too.
Bottom line: A beautiful, poetic meditation on love?
If you’d like to submit a book for review, please email me at firstname.lastname@example.org. We are particularly interested in submissions from female photographers, to maintain the balance.