sublime #16

Japan and seeing/not-seeing

2 weeks in Japan

at the start of November we took ourselves to Japan; hōjicha mornings, honey-glazed light through swaying grass, golden persimmon wrapped carefully in parcels on trees and displayed on windowsills, Chrysanthemum season, ginkgo on the ground, privacy glass, cold air on wet skin in a bath the mountains, still-summer leaves reflected on water and black lacquer, glowing evenings, rust, russet and ochre in the tiles, crème brûlée everything.

visual notes from the rest of the month:

it snowed. it settled. on our driveway it was compacted enough to make it to the main road that is a well-gritted bus route and so we managed to drive across the country to work. thankfully we made it back before it iced over. worrying about the weather is an untold aspect of being self-employed.

just about the only evidence on my phone from a spectacular Chrysanthemum workshop. my heart and brain were so full after shooting this day; validation for ideas and confidence-building, creative play, being in a room full of people hungry to learn and equally people willing to share their knowledge.(‘professional’ images coming soon)

glass casting shadows on the wall in a maker’s studio

it snowed again.

coming very soon: prints that can be framed… or worn

tester samples arrived and the final samples are now in production. I love the tactility of printing on fabric and have been playing around recently with processes beyond straight-photography, exploring the distortion and interactions of adding other elements to my images. There’s something in the seeing/not-seeing that I’m interested in and it makes sense to me to continue that in the material output. Ambiguity is alluring (maybe why I find it so incredibly cringe to talk about my work?)

I do also have paper-based prints on the way that will all be available in the coming weeks.