Their ordinary is our history, their dailiness is our temporal alterity: "Skinningrove" is an ethnographic account of sorts, although it doesn’t speak of a different culture, more like of subcultural ripples that shape a community’s physiognomy at a certain moment, leaving the traditional (read: occupational) base untouched. What’s intriguing is not the way the village echoes larger trends of the time, this is hardly
Interesting. Nice photography, but I wonder what drew Killip there in the first place. I was also a little bothered by the pics of Simon, who was taken out on the water to learn not to fear it. Killip says he's never been sure what use those photos of Simon are yet he describes one as being particularly poignant, which I also felt. Again, this makes me wonder what led to his devoting so much to that place and time.
This short film expands and contracts through time, through process, in and out of people's lives and personal drama, through an artist's memory and plans for his work, through stiff fixed grain on a plate camera negative; to pixels on a scanned image; to a reflection in a computer monitor; to a back light image on a screen; to the motion capturing of Michael Almereyda more than 25 years after the original plane of
So warm in its remembrance! Even though I have never visited Skinningrove, I feel like I've been there now. Never thought a photographer narrating a slideshow could be so fascinating. And I'm a photographer who has narrated slideshows!
Portrait of a lady who every day would come down, twice a day, look to see if the sea was there, leave and come back in the evening and look again to check before she went to bed. This was her twice-a-day routine.