A photographic essay in which classical Indian and Southeast Asian sculptures originating in the first millennium CE are juxtaposed with photographs of cut flowers.
The two inhabit very different domains: the flowers are natural organic forms while the sculptures are man-made artifices made of stone; the flowers are alive, of the moment, their life span measured in days, whilst the sculptures are very much of the past, inanimate, frozen, as it were, hundreds of years ago. The flowers display themselves in colourful exuberance while the sculptures, as we have them, are stolidly monochromatic. Finally, and most importantly, both are extremely beautiful.
The question posed by this book is how they inform each other when placed side by side. In a word, the answer the book suggests is that the 'dead' sculptures come alive with colour while at the same time the ephemeral flowers, through the medium of photography, become sculptural, timeless and stately. The proof lies in the printed spreads and in a well-argued introduction augmented by a thorough index detailing the flowers and the particulars of each sculpture.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Ornan Rotem is a book designer and photographer. His previous books are A Typographic Abecedarium, about the relationship between typography and the visual world, and The Manhattan Project, photographs that accompany László Krasznahorkai as he chronicles his attempts to fathom the life of Herman Melville.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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