On those melancholic, late summer days, I’m bringing you four exquisite photo books, each weaving a tale of wandering. These journeys, both internal and external, mirror the quest to navigate timeless currents and affirm one’s place in the world. Whether it’s the empty highways of the American Southwest, a quiet seaside town in England, or the vast expanse of the Pacific Ocean embracing Polynesian islands, these routes become metaphorical paths of self-discovery and cultural immersion. Within the pages of these publications, the narratives capture the essence of getting lost and finding oneself anew, resonating with the nostalgia of measuring the passage of time and our role within it.
Jason Lee: TX | CA 17
In a world where moments of solitude are increasingly rare, Jason Lee’s latest book, TX | CA 17, offers a contemplative exploration of the desolate landscapes of the American Southwest.
During the summer of 2017, Jason Lee, a professional skateboarder, actor, and photographer, embarked on a voyage from his current home state of Texas to Los Angeles and documented his long drive. His destination was a city he had lived in before, the genesis of his photographic exploration along the road, which commenced in 2006.
TX | CA 17 is a testament to Lee’s commitment to capturing the raw essence of places seemingly abandoned by time. Drawing inspiration from the New Topographics aesthetic, Lee’s photographic approach is raw, unfiltered, and starkly neutral. As you leaf through the pages, you’ll find yourself immersed in a monochromatic world of emptiness and nostalgia. The absence of colour accentuates the desolation, casting an eternal aura over the scenes. Frequent aerial perspectives provide a detached yet poignant view, as if the photographer himself is floating above the scenes, witnessing the pristine beauty below.
TX | CA 17 is more than just a collection of images; it’s a visual journey that unfolds with deliberate pacing. The lack of page numbering and the ample white space surrounding the photographs encourage us to absorb the stillness that Lee has masterfully encapsulated. Some images sprawl across a spread, inviting to explore the continuity of scenes that unfold further down the road. The landscapes the artist has been traversing remained largely unaltered, providing him a comforting familiarity. The eerie yet entrancing sights resonate with Wim Wenders’ portrayal of the American Southwest, capturing how the desert and the city effortlessly melt into one another.
At the heart of TX | CA 17 lies an America that Lee aptly describes as a “beautiful smorgasbord” (Bomb Magazine, 2022). The artist’s solitary drive exceeds a mere physical road trip, evolving into an expedition through time and memory.
Jason Lee: has been published by Stanley/Barker
Kyle McDougall: An American Mile
The journey through desolate landscapes continues with An American Mile by Kyle McDougall. Originating from Canada, this talented photographer and filmmaker embarked on a transformative odyssey in 2017. Burnt out and seeking renewal, he and his wife took a leap of faith, selling their home and commencing a 10-month voyage across Canada and the United States. The couple opted for spontaneity and freedom, venturing without a fixed agenda, but being particularly drawn to the barren landscapes of the American Southwest, where the majority of the photographs were taken.
The essence of An American Mile is the inexorable passage of time—an unrelenting reminder of the world’s ceaseless evolution. The sun-bleached, pastel-coloured images uncover the allure of arid expanses and their abandoned vestiges—a symphony of gas stations, decaying cars, and weathered facades. It’s as though the wilderness intentionally laid its secrets bare for the world to see, embracing the camera’s gaze in a dance of light and shadow. Within these frames, a desert intoxication takes hold—a surreal sense of existential disorientation. Driven by an audacious confrontation with the unknown, the journey transcends the physical. As if mirroring the land’s infinite openness, McDougall’s voyage expanded his mind and nurtured a reconnection with self amidst the solitude of the unfamiliar. Echoing Jean Baudrillard’s words, “the desert is a natural extension of the inner silence of the body” (America, 1986).
An American Mile is a visual testament to all the stories held in silent landscapes, a chromatic opera of uncharted territories that parallel the paths of McDougall’s introspective journey. The book’s design further amplifies the thematic resonance of McDougall’s roaming, with its sand-coloured cover and shining golden debossed title evoking the sun-drenched terrains within. With each photograph skilfully curated within the large canvas of the book, a soulful narrative emerges—a tale of welcoming the unfamiliar, discovering the beauty in abandonment, and finding oneself anew amidst the vast jungle of grit and rust.
Kyle McDougall: An American Mile has been published by Subjectively Objective
Ian Howorth: A Country Kind of Silence
Drawing inspiration from the luminaries such as Stephen Shore and William Eggleston, photographer Ian Howorth unhurriedly wanders through rural England, engraving its essence on celluloid, while intertwining it with his personal quest for belonging.
The genesis of Howorth’s voyages stems from a life that spans continents. Growing up in Peru and the USA, he found himself transplanted to the UK at the tender age of sixteen. In A Country Kind of Silence, he revisits locales from his past, retracing steps taken with his English father in the 1980s and 1990s.
The photographs that fill the pages shimmer with a nostalgic radiance, often casting a golden-hued light that immerses the scenes in an eternal sunlit hour. The warmth and texture of the images conjure up an old-school charm, an ethereal blend of days gone by and present. Vintage campers, velvet seats, and time-warp retro interiors evoke a romanticised English era that lingers in every frame.
Howorth crafts a palpable sense of collective memory, drawing on a past he didn’t grow up with, but which he seeks to understand deeply. Amidst the images, a sort of forthcoming, lingering placelessness hovers — a state of feeling both tethered and adrift simultaneously. As Harry Gallon, the author of the book’s essay, writes: “This is a Britain of distant summers. Of longing. Of homesickness for somewhere never visited (…)”. A Country Kind of Silence serves as a means to forge a connection with the adoptive home, an act of appropriation through the lens.
In capturing scenes of sombre melancholy and serene tranquillity, Howorth elicits a dichotomy of emotions. The images mirror the complexity of memory, where feelings are imbued with an air of ambiguity. A Country Kind of Silence transcends mere nostalgia; it’s an exploration of a cultural capital that rests on clinging to what was, but at the same time draws on the constantly inpouring richness of new contexts and influences that comes with a foreign heritage.
Howorth’s journey culminates in a soft catharsis, an understanding that identity is a dynamic entity, shaped not only by where one’s roots are planted but also by the complex interplay of experiences that traverse the landscape of one’s life. In this sense, the book becomes a conclusion of a journey; a conclusion that defies neat resolution, much like the fine, intricate threads of the country’s soul it explores.
Ian Howorth: A Country Kind of Silence has been published by Setanta Books
Brendan George Ko: Moemoeā
Brendan George Ko is a Canadian visual storyteller with a nomadic lifestyle, working with photography, video, and interdisciplinary installations. Currently dividing his time between Toronto and Maui, he develops projects with a primary focus on Hawai’i, truthfully encompassing its enchanting landscapes, ethereal ambience, and the rich tapestry of indigenous traditions and values. Moemoeā, his latest publication, seamlessly encapsulates everything a great art book should offer: stunning photography, bold design, and an important subject matter that is both enlightening and engaging.
The book crafts a story through a duet of sections. The Spell weaves a tale of oceanic voyages inspired by the artist’s dreams and ancestral mythology. It is complemented by photographs capturing the seafaring existence along with linocut illustrations of Hawaiian fauna and flora by Sophy Hollington. Meanwhile, The Story, discreetly tucked away in a pocket on the back cover, presents a generously illustrated essay by Brendan George Ko and Jeremy Haik, providing context to the Hawaiian canoeing revival.
Moemoeā delves into Polynesian voyaging, a practice dating back as early as 2000 BC, when Aboriginal sailors embarked on open ocean journeys guided by celestial navigation and the rhythms of the swells. The tradition experienced a resurgence in the 1970s with the formation of the Polynesian Voyaging Society and construction of Hōkūle’a, a modern replica of an ancient canoe. The organisation aimed to prove that the discovery of Hawai’i was an intentional act by Native Polynesians, a testament to their nautical skills and knowledge, challenging the Western narrative of a chance discovery. The canoe became a symbol of empowerment and connection, sparking renewed interest in the native Hawaiian language, music, customs, and ancestral teachings.
Some books have the ability to fully immerse the reader, and that’s precisely what Moemoeā achieves. Ko’s work masterfully captures the oneiric quality of those saltwater excursions, making the exploration of Moemoeā akin to a spiritual journey. The design enhances the narrative, deepening a sincere engagement with the story. From pages that shimmer like the ocean to the wire binding reminiscent of maritime logbooks, it’s a tactile and visual delight. Every detail within the book is considered and thoughtfully executed, right down to the colour choices that resonate with Hawai’i volcanic soil, and the moon phase graphics that encircle the book’s edges, replacing standard pagination.
As we dive into the book, it’s impossible not to reflect on the profound significance of traditions in uniting people and rekindling a sense of community. As Ko and Haik put it, “A culture is alive only if its mythology is active and breathing.” In a world where our reconnection to nature and indigenous wisdom is more crucial than ever, Moemoeā shines a bright light on Hawaiian heritage and the power of dreams that can serve as compasses for our actions, if only we dare listen to them.
Brendan George Ko: Moemoeā has been published by Conveyor Studio
BOOK BLISS
Book Bliss is a quarterly gateway to the sublime world of art publications. Each article offers a curated selection of publishing gems, where the books’ aesthetics are as compelling as the narratives within. Whether you’re an art enthusiast, a photography addict, or a fan of beautifully designed printed matter, Book Bliss is your source of visual inspiration and literary delight.
