Photographer: David Lynch (born in Missoula, Montana; lives in Los Angeles, California)
Publisher: Thames & Hudson, New York, NY in association with Foundation Cartier pour l’art contemporain, Paris; © 2017; published in the United States in June 2018
Cloth-bound hardback with transparent printed dust cover; 240 unpaginated pages with 125 black-and-white and color photographs; 10¼ x 13¾ inches (26 x 35 cm); printed and bound by Grafiche Antiga, Treviso, Italy
Text: English and French
Photobook Designer: Atelier Dyakova, London
David Lynch, multi-talented storyteller of mysteries and well-received artist working in several media, has applied his keen eye to observing and photographing women’s bodies, culminating in this interesting project. In this sumptuously printed large-format photobook he presents 125 images, most in black and white, with a color section in the center portion.
Unlike some predecessors whose work is marked by in-your-face grit (Araki, Moriyama) or distorted representations of the female body (Brandt, Fellig, Kertész, among others), Lynch presents a more mysterious, cinematically influenced celebration of forms, lines, and juxtapositions to entice the viewer. The black and white photographs at times seem semi-abstract, to the point where the viewer might not recognize what portions of the body are gazed upon, which encourages guessing; the color section, on the other hand, emphasizes red and reddish tones – lips, skin – and seems to make a more direct, erotically charged presentation. While the volume is entitled NUDES, the project includes all kinds of body forms and body locations, including faces – a landscape approach to the body that keeps the viewer marveling from beginning to end of the entire sequence.
This volume also intrigues the viewers with interruptions and detours in the progression of curves and lines. The light areas are pointers to the sections in darkness whose continuation can often only be imagined. In addition to being a superb master of light and shadow, Lynch also uses focus to great effect in order to increase suspense and tension in his compositions; out-of-focus curves and areas imply parts unknown or out of reach of the viewer, and are teasingly left to the imagination. The work in color has a dreamy, mysterious quality to it, possibly best described as free-flowing portraiture mixed with ethereal eroticism. There is a playful mix of semi-abstract representation and lively realism in the flow of the work. The images speak for themselves; there is no preface or other essay.
As Lynch has stated in his book Catching the Big Fish, the greatest ideas are in the deepest water, and some daring is required to delve into them and do a thorough exploration. This volume is a creative and appealing presentation of female bodyscapes, sure to become a classic. Highly recommended!