Seasons Series #11 | Fall
21,5 x 27,5 cm. 40 pages. 1 fold-out. 26 color plates. Color offset printed paperbound hardcover. Linen thread bound. Grey headband. Typography on front cover, spine and back cover in white foil.
ISBN 978–91–88113–44–3
Published in 2020.
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Seasons Series draws inspiration from Kim Ki-Duk’s seminal film Spring, Summer, Fall, Winter… and Spring in which different actors, for each season, play the same character who is abandoned on a lake next to a floating monastery. The film specifically focuses on the shifting nature of the seasons and its effects on the protagonist’s fosterage. The books take their lead from the film in that simple and profound ideas, human passions and spirituality can be perceived differently depending on the season.
Seasons Series is a quarterly book series, in which a group of artists are brought together under one vision with a focus on each artist’s singular way of seeing. Each of the books in the series will focus on differing subjects and all monographs will showcase the artist’s unique approach to photography. All the books in the series will maintain the same size, dimensions and page count. The first 25 of each will come as a special edition containing a print.
We hereby continue the book series with new works by Cole Barash (b. 1987, American).
First edition of 500 copies. Special edition of 25 copies, numbered, in paperboard slipcase, screen printed in white, with signed original print.
What is the basis of your series, Sound of Dawn?
This collection of photographs consists of a visual investigation into the intimate exchange between the human form and the natural landscape. Looking to identify the points in which both forms meet and co-exist as well as the manner in which they inevitably alter and destroy one another. Juxtaposing magnified detailed studies of the human body with photographs of the Rio Tinto river in Spain, known for its deep red hues caused by the acid mine drainage from the various mines in the region.
Using the viewfinder to build compositions and sketches of the moments they intercept further questioning our interconnectivity as forms.The duotone images strip away any distractions and allow the focus to remain on the genuine form and structure paired with the beautifully illusive red tone that the river holds—directly conveying the disruption and violation of nature.
Initially I used photography first as a medium to make observations through a 4:5 ratio and then secondly in the studio by experimenting with scale and sequencing in either the format of an installation or book to further convey the overall idea. Having spent a large portion of my upbringing and current life in very isolated natural environments, nature as a form presence and phenomena of the physical world will collectively continue to contribute to my future works and practice.
