Friday, 5 April 2013
Rinko Kawauchi
Rinko Kawauchi, the renowned Japanese photographer, has her eyes on the past. Here, in this splendid video produced by Goliga, we gain insight into her project titled Approaching Whiteness. She combines the wisdom and poetry of her photography alongside the time-honoured tradition of the scroll format to explore new ways of photobook making. As the publisher Ivan Vartanian explains in the film, this means of presentation relates to Kawauchi's larger aesthetic interests: "We don't have individual moments or individual frames, rather we have a continuation of moments and a continuum of time." Click here to learn more about the project.
Thursday, 14 March 2013
Darren Harvey-Regan
Darren Harvey-Regan’s work honours the timeless discussions of perception, photography, and the constructs of representation. It casually pulls the viewer in with an efficacy most slight and nuanced by traditions of still life imagery and modernist intent towards formula. Once absorbed in the parallax of image over that of the physical construct scattered amongst the works, his projects and exhibition as a whole takes shape. Questioning the elasticity of photography makes sense and with foreknowledge of analogue practice’s continued relevancy it is a well-crafted balance of ingenuity that coalesces the works within.
Brad Feuerhelm: Can you shed any insight into where you begin an idea? Is it looking at works by artists using photography at all?
Darren Harvey-Regan: There’s a sense I have that there’s three main ingredients: One is the subject - the initial object in the world. Two is the image - the photographic representation. And three is the material object of the photograph - be it framed, presented, etc.
And then an interplay or overlap or exchange continually going on with these things. Some pieces emphasise different aspects of those relationships but I think that’s the (shifting) sense of things.
BF: So your references start much like a photographer in a way, trying to visualise an object, then how to "capture it" and the perception of it before deciding how best to deal with the photograph’s mode of representation back in transitive value to the original object. I find this interesting. Generally when a photographer does this, the reference ends when print or frame is captured.....
DHR: I think there’s an interplay of that type of trajectory too. Sometimes the works such as More or Less Obvious Forms have directly started with a specific visualisation. Other times the installation has grown out of pre existing imagery of mine.
BF: Like the children’s educational book, as another example?
DHR: Yes, and with that one. The end point was both an object (the sculpture) as well as an image. The majority of images are certainly of created things, or adapted. In some cases these things have been fashioned after the idea of an image....
BF: I find the drained colour on the actual sculpture fascinating while compared to the photograph… but the object is present?
DHR: Yes, ok, so I think it’s fair to say that in all the work in this show, the objects are essentially themselves. Nothing is intended primarily as metaphor. A rock is presented here as a rock, the blocks are blocks. They don’t symbolise anything. That’s not to say they don’t make you think about things but they’re not represented as symbols or metaphors.
BF: Relational photography, in a formal sense of objecthood.
DHR: The work lies more in the process of translation and presentation and process itself.
BF: On that note.....Can you tell me why you chose not to display the tools for the Walker Evans referenced Fortune series…themselves?
DHR: Yes, same with the checkered pieces, (More or Less Obvious Forms) - I get asked a lot about this one. These were conceived to be photographs. There is nothing added in seeing the tools themselves, rather just an undermining of what is achieved in the photograph.…The photo provides the illusion of function here. The tools themselves are clearly just two halves stuck together and they don’t even join all the way due to their mismatched shapes. The photo recreated them.
BF: But you have the physical tools? They are physical not montages, etc…
DHR: Yes - I have them all. There’s a cool trajectory thing here where photography usually starts with something in the world and makes an image. Here I made collages from Evans’ images and then turned those into something in the world. I am saving them for that room of artefacts in my retrospective.
BF: Kunsthalle Harvey-Regan.
DHR: Exactly. I’ve had the original Fortune magazine in the show that just closed at Summaria Lund gallery.
BF: I love Ephemera!
DHR: Yes, it creates a nostalgia that is very present in the work. A lot of the pieces end up having connection to childhood interests and ideas.
BF: How fascinating! Your work is so clinical. So to add the elements of ephemera is bold. The age of the magazine against the cool patina of your palette is forceful, but not undermining in the least.
DHR: The drained colour could be read like that but, there’s an also an indirect emotional undercurrent or consequence I guess. The tools are printed and framed in quite a traditional manner on the other hand. Photography and Nostalgia, the loss of colour in adulthood, complexity of emotions and ideas set against the lost security of childhood.
BF: In your work, are the aesthetics of representation specific to the medium of photography or do these tendencies reside in other forms of display - the sculpture etc? Could you see yourself working without photography in the mix? Or is photography specifically our discipline in art?
DHR: I think it’s about the construction of meaning and perspective, the existing world compared to our interpretation/language of it. Photography is so ideally suited to reflect on this or traditional photography at least.
BF: Do you consider photography a language?
DHR: Yes, certainly. It has its own idioms and phrasings particular to it. The visual itself is the broader language.
BF: The camera its tongue…
DHR: Flash tonsils! It has that awkward relationship to the world, the reference/referent thing that is comparable to language itself. A tie between the world and the construct. I’m actually really interested in the possibility of a visual language, without recourse to symbol. Yes, maybe it could only be a purely subjective thing.
BF: Subjective, yet shared language?
In your piece The Halt you incorporate a large measure of violence with the use of a specific tool: the axe. There is an amount of violence that permeates the material use of photography, the breaking surface..Also the saw piece but, that is more clinical. The dead lizard under the rock as well. It’s interesting because the images are so tidy to the machinations of purity that seeing these distortions acts as a catalyst for abjection.
DHR: Yes, someone actually said that of the tools at a recent exhibition opening of mine then someone else directly disagreed! Maybe it’s my passive/aggressive tendencies.
Brad Feuerhelm: Can you shed any insight into where you begin an idea? Is it looking at works by artists using photography at all?
Darren Harvey-Regan: There’s a sense I have that there’s three main ingredients: One is the subject - the initial object in the world. Two is the image - the photographic representation. And three is the material object of the photograph - be it framed, presented, etc.
And then an interplay or overlap or exchange continually going on with these things. Some pieces emphasise different aspects of those relationships but I think that’s the (shifting) sense of things.
BF: So your references start much like a photographer in a way, trying to visualise an object, then how to "capture it" and the perception of it before deciding how best to deal with the photograph’s mode of representation back in transitive value to the original object. I find this interesting. Generally when a photographer does this, the reference ends when print or frame is captured.....
DHR: I think there’s an interplay of that type of trajectory too. Sometimes the works such as More or Less Obvious Forms have directly started with a specific visualisation. Other times the installation has grown out of pre existing imagery of mine.
BF: I find the drained colour on the actual sculpture fascinating while compared to the photograph… but the object is present?
DHR: Yes, ok, so I think it’s fair to say that in all the work in this show, the objects are essentially themselves. Nothing is intended primarily as metaphor. A rock is presented here as a rock, the blocks are blocks. They don’t symbolise anything. That’s not to say they don’t make you think about things but they’re not represented as symbols or metaphors.
BF: Relational photography, in a formal sense of objecthood.
DHR: The work lies more in the process of translation and presentation and process itself.
BF: On that note.....Can you tell me why you chose not to display the tools for the Walker Evans referenced Fortune series…themselves?
DHR: Yes, same with the checkered pieces, (More or Less Obvious Forms) - I get asked a lot about this one. These were conceived to be photographs. There is nothing added in seeing the tools themselves, rather just an undermining of what is achieved in the photograph.…The photo provides the illusion of function here. The tools themselves are clearly just two halves stuck together and they don’t even join all the way due to their mismatched shapes. The photo recreated them.
BF: But you have the physical tools? They are physical not montages, etc…
DHR: Yes - I have them all. There’s a cool trajectory thing here where photography usually starts with something in the world and makes an image. Here I made collages from Evans’ images and then turned those into something in the world. I am saving them for that room of artefacts in my retrospective.
BF: Kunsthalle Harvey-Regan.
DHR: Exactly. I’ve had the original Fortune magazine in the show that just closed at Summaria Lund gallery.
BF: I love Ephemera!
DHR: Yes, it creates a nostalgia that is very present in the work. A lot of the pieces end up having connection to childhood interests and ideas.
BF: How fascinating! Your work is so clinical. So to add the elements of ephemera is bold. The age of the magazine against the cool patina of your palette is forceful, but not undermining in the least.
DHR: The drained colour could be read like that but, there’s an also an indirect emotional undercurrent or consequence I guess. The tools are printed and framed in quite a traditional manner on the other hand. Photography and Nostalgia, the loss of colour in adulthood, complexity of emotions and ideas set against the lost security of childhood.
BF: In your work, are the aesthetics of representation specific to the medium of photography or do these tendencies reside in other forms of display - the sculpture etc? Could you see yourself working without photography in the mix? Or is photography specifically our discipline in art?
DHR: I think it’s about the construction of meaning and perspective, the existing world compared to our interpretation/language of it. Photography is so ideally suited to reflect on this or traditional photography at least.
BF: Do you consider photography a language?
DHR: Yes, certainly. It has its own idioms and phrasings particular to it. The visual itself is the broader language.
BF: The camera its tongue…
DHR: Flash tonsils! It has that awkward relationship to the world, the reference/referent thing that is comparable to language itself. A tie between the world and the construct. I’m actually really interested in the possibility of a visual language, without recourse to symbol. Yes, maybe it could only be a purely subjective thing.
BF: Subjective, yet shared language?
In your piece The Halt you incorporate a large measure of violence with the use of a specific tool: the axe. There is an amount of violence that permeates the material use of photography, the breaking surface..Also the saw piece but, that is more clinical. The dead lizard under the rock as well. It’s interesting because the images are so tidy to the machinations of purity that seeing these distortions acts as a catalyst for abjection.
DHR: Yes, someone actually said that of the tools at a recent exhibition opening of mine then someone else directly disagreed! Maybe it’s my passive/aggressive tendencies.
Wednesday, 6 March 2013
1000 WORDS WORKSHOP WITH CHRISTIAN PATTERSON IN LONDON, 20-24 MAY 2013
1000 Words is honoured to welcome Christian Patterson, author of the hugely successful photobook Redheaded Peckerwood, as the photographer to lead our first workshop in London, 20-24th May. This is a rare opportunity to learn from his experiences and mastery of process, narrative and the book form.
In a separate event, 1000 Words has also organised a free symposium with Patterson together with Tate’s Curator of Photography, Simon Baker; artist and collector, Brad Feuerhelm; and renowned gallerist Michael Hoppen also to be held at Central Saint Martins College of Art and Design in the capital, the details of which will be announced shortly.
CHRISTIAN PATTERSON:
Christian Patterson has achieved considerable critical acclaim for his second book Redheaded Peckerwood, now in its third print edition after having only been published in 2011. A contemporary classic, it has been hailed as one of the great photobooks in the tradition of Robert Frank’s The Americans, Michael Schmidt’s Waffenruhe and Alec Soth’s Sleeping by the Mississippi. It is a beautifully edited and sequenced travelogue, tracing the footsteps of the infamous young couple Charles Starkweather and Caril Ann Fugate as they embarked on a killing spree across Nebraska to their point of capture in Douglas, Wyoming.
The book cleverly utilises different genres as well as vernacular photography and found documents to produce a story that traverses both fiction and fact, past and present, myth and reality.
Patterson worked with William Eggleston for three years and published his first monograph, Sound Effects in 2008. Redheaded Peckerwood, published by MACK, was nominated for the 2012 Kraszna-Krausz Book Awards won the prestigious Les Rencontres d’Arles Author Book Award in the same year. He is exhibited and collected widely and is represented by the Rose Gallery in the USA and Robert Morat Gallery in Germany. For a full CV click here.
ABOUT THE WORKSHOPS:
In a separate event, 1000 Words has also organised a free symposium with Patterson together with Tate’s Curator of Photography, Simon Baker; artist and collector, Brad Feuerhelm; and renowned gallerist Michael Hoppen also to be held at Central Saint Martins College of Art and Design in the capital, the details of which will be announced shortly.
CHRISTIAN PATTERSON:
Christian Patterson has achieved considerable critical acclaim for his second book Redheaded Peckerwood, now in its third print edition after having only been published in 2011. A contemporary classic, it has been hailed as one of the great photobooks in the tradition of Robert Frank’s The Americans, Michael Schmidt’s Waffenruhe and Alec Soth’s Sleeping by the Mississippi. It is a beautifully edited and sequenced travelogue, tracing the footsteps of the infamous young couple Charles Starkweather and Caril Ann Fugate as they embarked on a killing spree across Nebraska to their point of capture in Douglas, Wyoming.
The book cleverly utilises different genres as well as vernacular photography and found documents to produce a story that traverses both fiction and fact, past and present, myth and reality.
Patterson worked with William Eggleston for three years and published his first monograph, Sound Effects in 2008. Redheaded Peckerwood, published by MACK, was nominated for the 2012 Kraszna-Krausz Book Awards won the prestigious Les Rencontres d’Arles Author Book Award in the same year. He is exhibited and collected widely and is represented by the Rose Gallery in the USA and Robert Morat Gallery in Germany. For a full CV click here.
ABOUT THE WORKSHOPS:
The 1000 Words Workshop will take place in [SPACE] studios in Hackney, East London. The workshop will be an intense and productive experience lasting five days (20-24 May 2013) and will be limited to 12 participants.
PRACTICAL INFORMATION:
The cost of each workshop is £600 for five days. Participants will be selected on a first-come-first served basis and will be expected to make the payment in full within one week. Participants are encouraged to arrive the day before the workshop begins for a welcome dinner. The price includes:
-tuition from Christian Patterson (including defining each participant’s project; shooting; editing and sequencing sessions; creating a coherent body of work; creation of a slide show; projection of the images of the participants.)
-a welcome dinner
-24 hour help from the 1000 Words team.
Participants will be expected to make their own travel arrangements, cover their on-the-ground expenses and find accommodation. We can advise on finding the accommodation that best suits you. Please note that for the purposes and practicalities of a workshop, digital is advisable. All participants should also bring a laptop if they have one. Every effort will be made to accommodate individual technical needs.
HOW TO SUBMIT:
We require that you send 10 images as low res jpegs and/or a link to your website, as well as a short biography and statement about why you think it will be relevant for you to work with Christian Patterson (approx. 200 words total). Submissions are to be sent to workshops@1000wordsmag.com with the following subject header: SUBMISSION FOR 1000 WORDS WORKSHOP WITH CHRISTIAN PATTERSON.
15 April 2013: Final deadline for applications
22 April 2013: Payment due (£600)
19 May 2013: Arrive in London for welcome dinner
20 May 2013: Workshop begins
24 May 2013: Workshop ends
IN ASSOCIATION WITH:
Monday, 11 February 2013
Martin Stöbich
This past
November Brad Feuerhelm was invited on behalf of 1000 Words to attend the
Vienna Portfolio reviews held at the Leopold Museum in central Vienna, Austria. Here
he reports on his findings.
Among the
standout artists and photographers who came to meet with me were the following
for whom you may research at your leisure. Sara-Lena
Maierhofer for her
book on an infamous imposter. Krisztina
Fazekas-Kielbassa
whose emotional and poignant series on her mother and the troubles of growing
up with a conflicting notion of love was exceptional in every regard and it
deservedly won the portfolio award. Ernst Logar’s petroleum economic studies and further
investigations of unseen power structures merit serious consideration. Klaus
Pichler’s series
on Austrian pub life and his former body of work on a criminal underclass were
also spectacular. My personal favorite was Magda
Hueckel’s Anima
series for which you can expect further reportage, on the matter in the future.
And then there
was Martin Stöbich, whose simple
yet elegant photo books quickly caught my interest. Stöbich is a professional
photographer working mostly in colour with a sort of current practice based on
a post Parr observation of the hidden symbolic metaphor of the seemingly banal.
He has published several small photography books with a superb eye for minimal
typeface and editing. Think of the cover for A Brief History of Curating by Hans Ulrich-Obrist and you’ll get
the idea of the design direction of the object.
Within the majority
of the newspaper-bound lilliputian books are works by Stöbich himself. In
particular, Wo Nehman Wir Nur Jeden Tag Aufs Neue Diese Zuversicht Her stood out as it was by far the most
conceptually driven of the four books I was given. It is a fantastic pastiche
of contemporary culture as it relates to the pandering of sexuality on the male
hetero-psyche in the digital age of instant access and satisfaction.
Appropriating online pornography, Stöbich
has superimposed a series of brightly coloured texts onto the image while
keeping the background photograph monotone. The viewer is required to look forcefully
through and beyond the lettering in order to see the erotic imagery underneath.
Through simplicity of
means, it makes the ocular ingestion of the base image a very complicated read
since the viewer is forced to “see” the pornography through forced suggestion.
It separates the layers of meaning and representation that are at odds with the
potential libidinous gesture lurking below. The scathing psychological games of
viewing at play with the overlayed words such as “SERIOUSLY” and “I KNOW THAT
YOU KNOW THAT I KNOW THAT YOU KNOW” leap optically from the page to challenge
our passing interests in the female subject.
In a manner similar
to Ed Ruscha and Thomas Ruff the work then forces a contemporary reckoning with
our understanding of internet and telecommunications and with the abjection our
own bodies and minds can feel whilst absorbing the true conceptual or
intellectual content of sex-and-image driven internet. It could be argued then that
photography itself is not the language, but perhaps the combination of corporal
desire to that of machine output. All in, the book offers a passing commentary
on the absurdity of viewing pleasures and the use of material sourced from the internet is perfect fodder for this sort of short examination.
Brad Feuerhelm
Wednesday, 6 February 2013
Le Mois de la Photo à Montréal
Every two years since 1989, Le Mois de la Photo à Montréal produces an innovative photographyevent that serves as a catalyst for artists, other specialists of the image and the general public. The festival promotes different tendencies in contemporary photography and creates international exchanges between photographers, the public at large, curators, the media and collectors. Le Mois de la Photo à Montréal works with museums, galleries, artist-led centres, universities, and a large group of other partners to present a stimulating event that, by virtue of a series of mostly solo exhibitions spread across the city, transforms Montréal into one immense coherent group exhibition organised around a single unifying concept or theme.
For information regarding the curators and themes of previous events, please consult their website. The submission guidelines are available to read here.
Monday, 21 January 2013
FORMAT 13 Portfolio Reviews
1000 Words Editor in chief, Tim Clark, is just one of 45 professionals from the world of photography who will be conducting reviews. This is the most ambitious Portfolio Review FORMAT will ever have hosted and currently the biggest International Portfolio Review in the country with reviewers hailing from a total of 15 countries across the globe. They include Laura Noble, Erik Kessels, Markus Schaden, Peggy Sue Amison, Dewi Lewis and Sheyi Bankale to name but a few. Do not miss out on having your work reviewed by some of the biggest names working in photography. Places are limited, so book your place now to avoid disappointment! Great discounts and prizes also available for those who book.
The Portfolio Reviews are aimed at professional photographers with a developed and serious approach to their work. Recent graduates and non-professionals are welcome. Please contact Sebah Chaudhry at portfolio@formatfestival.com for any queries.
This year, the FORMAT team has devised a new booking system so that reviews can be booked online. This system allows you to choose your own reviews and reviewers. It is a first come first served basis. You can view and select the slots you want.
It is advise you look through the reviewers and make a list of at least 10 that you would like to see, in the order you would like to see them so that you are prepared when you book.
Cost : £195 (No concessionary rates and no refunds).
This includes:
-5 reviews, 20 minutes each between 9.30am – 3.45pm on Saturday 9 March 2013.
-A place in the ‘Portfolio Factory’ which will take place after the Reviews (approx 4.30pm – 6pm tbc). Photographers set up their work on a table and the Public, Reviewers and VIP Guests are invited to walk around, talk to you and view your work. The Portfolio Factory is not compulsory, but it is advised you do consider taking part.
FORMAT have also teamed up with numerous photography specialists around the world to offer these exclusive discounts for photographers who have booked:
-20% off all printing/mounting/framing at Genesis Imaging.
-Discount at Johnsons Photopia Ltd – Billingham bags and other items available (this list will be sent to you after you register)
-25% discount on all rental equipment at The Flash Centre in Birmingham and London stores. Other deals on lighting available on an individual basis, depending on requirements.
-30% off subscriptions to Ojodepez magazine.
Monday, 14 January 2013
Recollections of Gigi Giannuzzi, my publisher
Robin Maddock remembers a dear friend and publisher who is no longer with us, Gigi Giannuzzi.
The feeling with Gigi is that you didn’t so much meet him at a precise moment, as hear his voice across a room, or in the summer air at a festival. He would have probably been shouting at someone with his own kind of overblown Italian mock-exasperation, right in their face. You might have seen him glide by on wheeled-heeled trainers, resplendent in a sarong. You might have known him as the only reveller to dip in the pool at the Forum spaghetti party at Les Rencontres d’Arles, when some punk photographer pulled his wet boxers down in front of the global photo community. But really you should know him principally through his incredible list of books, brought out against all the odds and whims of fashion over the last ten years.
But of course I can remember meeting him, working Metro lab’s front desk in July 2003. Just like his books, you didn’t forget him. I knew Open Wound by Stanley Greene, Zona by Carl de Keyzer, Agent Orange by Philip Jones Griffiths, books that are so strong, clearly born of a special collaborative alchemy. So I knew who he was, when he walked in brimming with champagne, happiness and pride. He had just spent the afternoon with Oscar Niemeyer at the Serpentine Pavilion, the catalogue of which he just published. I tried to show him my pictures on rockabillies, which turned his face sour - those right wing red necks just weren’t his thing. Once you understood that flashy design, beauty and especially marketability were secondary to the importance of the social issues, you had a chance of him listening. Those other characteristics could and would follow in his work when felt it right to give them free reign.
My own evening of full initiation into Trolley’s extended family began with a late night opening at the Reina Sofia Museum in Madrid during PHotoEspaña. After being very forcibly made to kiss Christian Cajoule in front of Guernica, we promptly got thrown out from the newly opened Frank Cappa’s ‘Mexican Suitcase’ room for prostrating ourselves on the floor in melodramatic fevered adulation. Before long he was behind the bar of the most classic cocktail bar in Madrid, demanding they make up a cocktail called a Gigi. He appeared grinning with a green thing which was held aloft for a cheer and promptly threw himself down a flight of stairs just to make us laugh. What an exit! I missed a very important meeting with a woman from the museum the next morning, but it was worth it.
Gigi took a characteristic punt on my first book Our Kids are Going To Hell as he always ignored the logical economics of putting books out. Whereas other publishers had scratched their heads, gone over it and said things like "I can’t see a European market for this" etc, whereas they were negative and basically lacking any guts or vision, he just said it "looks a lot better, why don’t we do something". In our line of work we only very rarely meet someone who feels similarly about a topic with whom agreement can become a method to address it. Working on ‘Our Kids’ with him was the beginning of my photography life proper.
In August 2009, after being sent away a few times for arriving before noon, we laid out the mini prints to consider on a table at Trolley's former office in Redchurch Street, east London. It seemed we edited and sequenced it in half an hour. It took much longer of course but that is testimony to the intuitive way we worked. It was the first time I had input from someone who could actively make my work better, pictures becoming a book. There were narrative moves that I couldn’t go with knowing the back-stories, but others that he made that were akin to killer chess moves. Those we kept. In the end we hugged, it felt to me as though we had fixed something of which we would proud.
The climate devised by him was often attritional and combative. The artist Paul Fryer who did an early Trolley book with Damien Hirst, recently described the group as a "satanic creche". Gigi often found a form of attack was the only way to deal with the egos of photographers. His idea was that if people couldn’t handle it then they weren’t worth it. He was undoubtedly a difficult, complex man at times. We nearly came to blows in a back street in Venice once, only because he thought I didn’t trust him. "No logo, no logo" he was shouting. There’s footage somewhere of him, after the storm, beating me up with a rose that was my peace offering.
His ‘no bullshit’ stance on things cut to the chase. My second book God Forgotten Face could have been a mess without him being brutal with me. When I came to London to show the work in early 2010 I thought I was finally done. He told me, "It looks like you’ve just started". I went back quite confused and upset to Plymouth, but after a few days I knew he was right. Hannah Watson, his business partner, had to say to me, "He said it because he thinks you can take it..." That changed the work. He pushed me to do a more original book. Sometimes we can’t see our own pictures for what they are. We get clouded with the knowledge of the event and importantly, our egos. We need editors we can trust, who bring something to the table. He used to say "everyone do their job", he knew what his was.
He was a bit calmer with the gallery artists he worked with. He loved them as people, possibly because he was a form of artist himself. Interestingly, he saw very little grey area between art for the gallery and the photography he worked with. There was no hinterland of photography trying too hard to be art at Trolley. He said to me once, “You’re about as arty as I go", but it was him who always reined me back from being overly self-indulgent.
The first time when we were on press in Italy in 2009, we had discussed paper stock during the morning and found a good match. Over a typically good prosecco-fuelled lunch I noticed him thumbing the stock sample he had brought to the restaurant. I realised this was a publisher still in love with making photo-books after all these years. That’s of course what we all want, what we will continue to need. Gigi was a highly principled man but rarely for the ‘politicised’ he had vision, tons of flair, integrity and great bravery. He used these qualities to work our piles of pictures into books that contained life in an honest way.
So naturally I will miss him enormously as an editor and publisher, but at present many people are feeling the loss of a simply irreplaceable friend. He affected a lot of careers, but it’s the great laughs we’ll miss the most. I think of him at one of Maya Hoffman’s incredible chateau parties in Arles. He had collected all the VIP tickets from the floor and was throwing them over the wall so all of us could get in. He always found a way and it seems like yesterday.
Robin Maddock
The show ‘Trolleyology’, a survey of the ten years of publishing at Trolley opens on 18 January. The private view will be held on the evening of the 17th at the London Newcastle space on 28 Redchurch Street, London. An accompanying book of the same name is due in the Spring. Trolley Publishing and TJ Boulting continue under his business partner Hannah Watson at 59 Riding House Street, London.
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