Monks Dogs Death and Men with Guns
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Philip Blenkinsop's first handmade book.
Unique. Created in 1997.
xx hand-printed argentic photographs (Burma, Cambodia, Thailand and Vietnam), assembled between prayer-cloth-covered wood covers, wood spine with inlays; silver and earthen Buddha image, 30 calibre spent machine-gun round from the tank battle on Pochentong Boulevard during the coup d'etat in Phnom Penh 1997. Embossed title on brass foil. Archival art paper.
Enquiries via e-mail please.
Unique. Created in 1997.
xx hand-printed argentic photographs (Burma, Cambodia, Thailand and Vietnam), assembled between prayer-cloth-covered wood covers, wood spine with inlays; silver and earthen Buddha image, 30 calibre spent machine-gun round from the tank battle on Pochentong Boulevard during the coup d'etat in Phnom Penh 1997. Embossed title on brass foil. Archival art paper.
Enquiries via e-mail please.
July 1997, dusty and exhausted from documenting Hun Sen's coup d'etat in Cambodia, I return to my tiny one bedroom apartment near Pinklao bridge in Bangkok 's Thon Buri district.
The geographic constraints of the room are amplified by the presence of my psychotic lover who for her own unfathomable reason decides to make the space as uncomfortable and noxious as she possibly can.
In a small and shrinking corner of the room on a table improvised from boxes I work for the following week, trying to let the mental torture ride over me, focusing on the design and build of the book that will house a selection of images that best represent who I am and the work that has been the subject of my focus during my first eight years in Asia.
In August I fly to Paris and, book in hand, make my way to Perpignan for Visa Pour l'Image, the annual Festival of photojournalism that to this day continues to be a Mecca for photographers the world over.
There, in a stolen corner of a cramp little room on the first floor of the Hotel Pams, exchanges taking place in four dimensions amid the infectious energy born of that chaos, I share the book with Christian Caujolle, the founder and Artistic Director of 'lAgence VU and Gallery VU.
He tells me I will be joining his agency.
For the following ten years my book lived in Gallery VU.
It was the vehicle which introduced my work to a wider audience for the first time. In terms of personal history, it is undoubtedly the most important object I have ever created.
The geographic constraints of the room are amplified by the presence of my psychotic lover who for her own unfathomable reason decides to make the space as uncomfortable and noxious as she possibly can.
In a small and shrinking corner of the room on a table improvised from boxes I work for the following week, trying to let the mental torture ride over me, focusing on the design and build of the book that will house a selection of images that best represent who I am and the work that has been the subject of my focus during my first eight years in Asia.
In August I fly to Paris and, book in hand, make my way to Perpignan for Visa Pour l'Image, the annual Festival of photojournalism that to this day continues to be a Mecca for photographers the world over.
There, in a stolen corner of a cramp little room on the first floor of the Hotel Pams, exchanges taking place in four dimensions amid the infectious energy born of that chaos, I share the book with Christian Caujolle, the founder and Artistic Director of 'lAgence VU and Gallery VU.
He tells me I will be joining his agency.
For the following ten years my book lived in Gallery VU.
It was the vehicle which introduced my work to a wider audience for the first time. In terms of personal history, it is undoubtedly the most important object I have ever created.
