Glacier of Argentière Chamonix Mont-Blanc Haute-Savoie France, Hester L Scheurwater with his amazing PhotoBook “All I ever wanted”
Category: Non classé
Robin Hammond Zine Collection N9 “Zimbabwe”
Chamonix Mont-Blanc, Robin Hammond Zine Collection N9 “Zimbabwe” climbing the mountain, fogs and clouds today in the Alps.
In Chamonix Mont-Blanc for a project photobook!
Climbing the mountain, Chamonix Mont-Blanc in the fog this afternoon, bad weather and no pictures for the PhotoBook, i’m working with the Gigapan, an accordion book to come, 20 meters…
“Les Filles de Tourgueniev” by Philippe Herbet
GOOD NEWS, proofs are arrived today in Chamonix from China, “Les Filles de Tourgueniev” by Philippe Herbet a PhotoBook to come soon, limited edition of 500 copies and a artist edition of 25 copies in his clamshell box and signed C print.
Zine Collection N°8 by the Chinese artist Wei Bi “My dreamed stream”
Chamonix Mont-Blanc, Glacier des Bossons, 2200m. Wei Bi Zine Collection take the sun! 40 copies is left.
CENSURED Bad news
BAD NEWS: “Shenzhen Press and Publication Bureau, they do not agree us to print this book in China. I am sorry that they defined the book by the Artist Lin Zhipeng as a pornographic, sexy, lecherous book, I am sorry that we can not print this book.” Sorry for the delay, ill be in late, this one will be print in HongKong now, i’m waiting the quotation…
Interview with Pierre Bessard
Could you talk a little bit about why you decided to create Editions Bessard?
LI(V)BRES PROPOS
… I started collectioning Photo Books, by thousands, then I bought vintage originals photos of Robert Frank, Lee Friedlander, Lewis Baltz, then Peter Witkin. Later I became passionate for chine contempary photography with artists as Wang Quingsong, Ren Hang, Lin Zhipeng 223, Chen Jiagang, Wei Bi…
..J’ai commencé par être un collectionneur de livres de photos, par milliers; puis j’ai acheté des tirages, vintage de Robert Frank, Lee Friedlander, Lewis Baltz, puis Peter Witkin; et je me suis lancé dans le continent de la photographie contemporaine chinoise, Wang Quingsong, Ren Hang, Lin Zhipeng 223, Chen Jiagang, Wei Bi…
I have lived several lives in the photographic field, being photojournalist at AFP, then directing the photo service of the French magazine VSD, then documentary director (CAPA/ ARTE). I have won numerous prizes and distinctions, and creation sponsorships (Villa Medicis for instance).
Before Editions Bessard began you had already been publishing your own work under book forms. Your work covers two continents, looking at the lives of people in both America and China. Do you continue to be amazed at how different the cultures are between those two mighty world powers?
My first book “le point de vue de la solitude” (“the point of view of solitude”) (Editions de Messine), has been published in Phototypie, limited in 300 exemplaries, phototypie on Arches paper. The books on the Imprimerie Nationale, which is the sole owner of such printer, are published this way.
Mon premier livre “le point de vue de la solitude”(éditions de Messine) , je l’ai publié en Phototypie, limité a 300 exemplaires, phototypie sur papier Arches ; les Livres de L’Imprimerie Nationale sont réalisés ainsi, la seule imprimerie en France à posséder l’imprimante.
My first cultural sponsorship, with my book « Behind China Growth », has been published by China based Publishing House TimeZone8. I implicated myself in the conception of the book : choice of the typos, HD scan of the images, japanese 300 mg paper, bookbinding in China.
I have lived two (2) years in China with the wish to control everything from A to Z in the process of creating and making the book. I collaborated with the genious of Chinese design (and rising star) Georges Chang, for the cover of the book. The I realized my book « Journal de Chine, 365 days in China » in which I wanted to reveal the day to day life of chinese people, without searching for exotism.
Mon premier mécénat culturel avec”Behind China Growth”, publié aux éditions basé en Chine TimeZone8, je me suis impliqué dans le making du livre: typographie, scan des images en HD, papier japonais de 300 gm, reliure, tout ça en Chine, j’ai vécu 2 ans en Chine, avec le désir dans la chaîne du livre de maîtriser tout de A à Z; J’ai collaboré avec le génie du design Chinois Georges Chang pour la couverture, l’une des personnes qui monte dans ce pays. Ensuite, j’ai enchainé chez Glénat « Journal de Chine, 365 days in China »” où j’ai voulu dévoiler la Chine au quotidien sans aucun exotisme, juste la vie des gens.
China is such an enigma. Many feel as though we are only ever allowed to see what the Government wants us to see. Having spent a great deal of time living there, and photographing its people, how much do you feel is still kept under-wraps from the westernised world?
Each book is an unique experience. Seeking for the greatest creativity and excellence, I work without relief on the creation of these books from the cover to the hand and tail bands, with the will to make from the photography book artistic book. My work consists in being the creator of new codes and in activating new talents.
Chaque livre est une expérience unique…A la recherche de la plus grande créativité et de l’excellence, je travaille sans relâche à la création de ces livres de la couverture à la tranche-fil, avec la volonté aussi de faire du livre de photographie un livre d’artiste. Mon travail est d’être créateur de nouveaux codes et activeur de nouveaux de talents !
With the book Wuhan Boiler Company workers, I am at the heart of deep China. This book was conceived as a movie. I had justed finished the footage of my last movie on North Korea for the AGENCE CAPA/ARTE and my work had been played on French TV Channel ARTE at 20 :30, simultanously in France and Germany. It had been referenced in The Chinese Photobook Published by Aperture, as well as « Wuhan Boiler Company Workers » Edited by Martin Parr, Wassink Lundgren. Texts by Gu Zheng, Raymond Lum, Ruben Lundgren, Stephanie H. Tung, Gerry Badger.
Then I worked on my book “Chattanooga, The Green factory” thanks to the cultural sponsorship of the President of Alstom. I created both texts and images. Everday I interviewed the workers I met, diving in ther universe, their way of living. This book has been nominated at the TDC-Typography, the best in Typography and Design among 3289 books in competition.
Avec le livre Wuhan Boiler Company workers, je suis au cœur de la Chine profonde, ce livre suivant fut monté comme un film, je sortais des bancs de montage de mon dernier film sur la Corée du Nord pour l’Agence Capa/Arte, mon travail a été montré sur la chaîne de tv ARTE à 20 :30 en Allemagne et France simultanément. Il est aussi d’ailleurs référencé dans The Chinese Photobook Published by Aperture, comme le « Wuhan Boiler Company Workers » Edited by Martin Parr, Wassink Lundgren. Text by Gu Zheng, Raymond Lum, Ruben Lundgren, Stephanie H. Tung, Gerry Badger. Suivi “Chattanooga, The Green factory” grâce encore au mécénat culturel du Président d’Alstom; j’ai fait texte et images, tous les jours j’interviewais les travailleurs que je rencontrais, je me suis imprégné à leur univers , leur vie ..; cet ouvrage a été nominé au TDC-Typography: the best in international Typography and Design, parmi 3289 livres en compétition.
While creating these books, I interested myself in the way of life of my contempary. I am a big traveler, I have crossed 70 % of the planet as a photoreporter.
Je me suis intéressé dans ces livres aux modes de vie contemporains; je suis un grand voyageur, j’ai arpenté 70% de la planète comme photoreporter.
In China, I beneficiated of a total freedom. I feel as Chinese as French. I have been spending two months per year in China since 20 years, and I am 46, so … and I have been living 2 full years in China. I have witnessed the day to day change in China. I have assisted to the transformation of their factories, the economic war…
I seek for a profounf intimacy in the look of people. I need to create a true link with ther person I photograph.
En Chine j’ai bénéficié d’une totale liberté, je me sens autant chinois que français; je passe 2 mois par an en Chine depuis 20 ans, j’en ai 46 alors… J’y ai vécu 2 années pleines; je vis la Chine au quotidien, j’assiste au processus de Mondialisation, la transformation des usines, la Guerre Economique; je cherche une intimité dans le regard des gens, j’ai besoin d’un lien profond avec la personne que je photographie.
I am not a fan of self-publishing. It is not easy to finance a book project, so I have a mitigated opinion on this subject. I receive 8 publishing demands per week, so I need to take time to discover others work …on 30 books published by Editions Bessard, there only one of my work.
Je ne suis pas fan de l’auto-publication, le self-publishing; ce n’est pas simple de financer un projet de livre, je suis donc partagé à ce propos. Je reçois 8 demandes de publication par semaine; j’ai besoin de découvrir…sur 30 livres publiés aux Éditions Bessard il n’y en a qu’un seul avec mon travail.
In paralell, I created the Zine Collection, the first being devoted to the Australian photographer Claire Martin. I it a complex konw-how combining tradition and technology.
Parallèlement j’ai crée la Zine Collection, le premier était consacré à la photographe Australienne Claire Martin; c’est un savoir- faire complexe qui combine la tradition et la technologie.
Each book is embossed and numeroted by hand. Traditionnal coton gloves are worn to glue the original pictures (one per Zine) with a neutral pH glue, without acid. It is extremely long and meticulous.
Chaque livre est embossé et numéroté à la main Les gants traditionnels de coton sont portés pour coller les tirages avec une glue au PH neutre, sans acide, c’est extrêmement long et méticuleux;
Certain authors such as Alain Laboile, Cristina De Middel and Bernard Plossu have had a great success. Half of the Zine Collection is already sold-out. I will be stopping the collection at the n°30, since Editions Bessard is always in movement(LOL).
Certains auteurs, comme Alain laboile, Cristina De Middel, Bernard Plossu ont connu un grand succès, la moitié des Zine Collection est déjà sold-out; j’arrête la collection au N°30, car éditions Bessard est toujours en mouvement LOL…
A new collection called Bespoke will then follow : it is a tailoring term, which means, the most fit, near of the body, like a second skin …
Une nouvelle collection suivra qui s’appelle Bespoke; c’est un terme de tailleur, au plus juste, au plus près du corps, comme une seconde peau…
The accordion books can not be industrial, all must be glued by hand. I have published one which measure 8,40 meters and an other of 5,20 m.
Un livre accordéon ne peut-pas être industriel, tout est collé à la main; j’en ai publié un qui mesure 8,40m; un autre 5m20;
It is an art and crafts and know-how work which combines expertise, tradition (of the boook), taste, aesthetics, extravaganzia and inventivity.
C’est un métier d’art et du savoir-faire alliant parfaitement l’expertise, la tradition (du livre), le goût, l’esthétisme, l’extravagance, et l’inventivité.
It is in this perspective that I innove at each collection : a very limited collection of exception, an artists collection, a limited edition collection.
C’est dans cette optique que j’innove chaque collection : une collection d’exception, une collection d’artistes, une collection limitée…
Within each project, the most important is the boldness but also the relation with the authors, the artists, the collaboration with them and the pleasure of creating a new concept. Each time it is a new adventure marked by the total trust of the author, the designer and the printing house.
Dans chaque projet ce qui compte c’est l’audace mais bien évidemment aussi la relation avec les auteurs, les artistes la collaboration avec eux et le plaisir de créer un nouveau concept Chaque livre a sa propre histoire, sa propre équipe. A chaque fois c’est une nouvelle aventure marquée par une totale confiance avec l’auteur, le designer l’imprimeur.
Many of the zines or books that you stock are part of a limited edition run, making them few and far between. Is the aim to create these books to be rare, illusive and sought after? Is the kind of aura that surrounds these limited numbers books all part of the intrigue?
I do not only do limited prints.
Je ne fais pas que des tirages limités
I like luxury, the rare, the beautiful ; me Mister when I want to be nothing I dress up into a man : as you can see I can have the aristocratic taste to displease, the last heroic status being the Dandy’s status
J’aime le Luxe le Rare le Beau; moi Monsieur quand j’ai envie de n’être rien je me déguise en homme: comme vous voyez je peux avoir le goût aristocratique de déplaire, le dernier statut héroïque étant celui du Dandy…
I run away from the institution, I do not want any library distributors, I want things to go fast, under the fire of desire, the gesture of the zen archer : 6 months ! And sold out ! Therefore the price is not my problem any more and I am proud of that ! I am not a shop keeper ! In fact I am a free thinker ! LOL
Je fuis l’institution, je ne veux pas de distributeur en librairie, je veux que ça aille vite, dans le feu du désir, le geste de l’archer zen: 6 mois! Et sold-out! Ainsi le prix n’étant plus mon problème j’en suis fier! Je ne suis pas un boutiquier! En fait Je suis un libre penseur ! LOL
Sold out = Free mind = empty pockets ! The adventure is over andwe wipe the slate … as Stépgane Mallarmé, at each moment I imagine the book differently from what it will be in fine … it remains open
Sold-out =esprit libre=poches vides! L’Aventure est finie on efface l’ardoise…comme Stéphane Mallarmé à chaque instant j’imagine le livre différent de ce qu’il sera in fine…ça reste ouvert
What do you think about publishing some books and zines in black and white, with only one colour image? NOTHING
Ce que je pense d’un livre en noir et blanc avec un seul cliché couleur? RIEN.
I am really interested in the decision process that occurred for the design of the book by Wang Qingsong titled History of Monuments. By making the front cover out of bronze you allowed the book itself to form a closer link to the subject of the images inside. What kind of challenges did you face for such an unusual design?
I realized “History of monuments” referenced as well by The Chinese Photobook Published by Aperture, Edited by Martin Parr, Wassink Lundgren, this accordion book of 8 m 40, thanks to my friend Xu YONG who brought me to have tea at Wang Quinsong’s place. While drinking thz chinese tea, I went across the artist’s 200m2 studio and I fell on a print scotched to the wall (DHL scotch) in red letters ! His working method, his notes written in red and blue on the print, his figues in ideograms, an artwork in progress ! I immediately tought of a text on the right, an other on the left to give a balance to the whole, Wan Quinsong was thinking about that since 2 years … The was nothing predefined, the project was cloncluded in 30 seconds, give me five !
J’ai réalisé “History of monuments” référencé aussi dans The Chinese Photobook Published by Aperture, Edited by Martin Parr, Wassink Lundgren, ce livre de 8m40, grâce à mon ami Xu YONG qui m’a amené boire le thé chez Wang Quinsong; en buvant le thé chinois je parcourais le studio de 200m2 de l’artiste et je suis tombé sur un tirage scotché au mur, du scotch de DHL, en lettre rouge ! Sa méthode de travail, ces notes inscrites en feutre rouge et bleu sur le tirage, des chiffes des idéogrammes, un artwork en cours, je l’imagine de suite avec un texte à gauche et à droite pour rééquilibrer l’ensemble, Wang Quingsong pensait à ça depuis 2 ans…Il n’y avait rien de prédéfini, le projet s’est conclu en 30 secondes, give me five!
Yes, immediately … I thought of the book « gazolin » of Ed Rucha. A Beijing I met the famous sculptor Martin Salazar, a former sculptor professor at the Shangai Art School. He had trained numerous contemporary chinese sculptors. They can be recognized by there patina on their bronze, which is a caracteristiq of the work of the artist Salazar. I asked him to create for me a bronze sculpture a,d he said yes immediately, a true new challenge, but my R&D service of my printing house found a solution to fix the bronze cover, as well as the Ren Hang with his thermique cover because of teh censure (this process as since been copied by a spanish artist or editor, I don’t remeber).
Oui tout de suite…j’ai pensé pour ce livre au “gazolin” d’Ed Rucha; À Pékin j’ai rencontré le célèbre sculpteur Martin Salazar, ancien professeur de sculpture aux Beaux arts de Shanghai, il a formé nombre d’artiste sculpteurs contemporains chinois, on peut les reconnaître a leurs patines sur les bronzes, une des caractéristiques de l’œuvre de l’artiste Salazar ; je lui ai demandé de me créer une sculpture en bronze pour la couverture, il à dit oui immédiatement, un vrai challenge à nouveau, mais le service recherche et développement de mon imprimeur a trouvé la solution pour fixer la couverture en bronze, Ren Hang avec sa couverture Thermique à cause de la censure, procédé qui à été déjà recopié par un éditeur ou photographe espagnol, je ne sais plus…
And finally, you also include text in a lot of the books, is it important to you to give the reader a solid grounding about the context in which the images have been taken?
Each of my books is presented by a writer or a journalist. French are very literary … If a connoisseur reads the text it is as if it was worth a thousand persons reading it.
Chacun de mes livres est présenté par un écrivain, un journaliste etc. ; Les français sont très littéraires…et si un seul Amateur Éclairé lit le texte c’est plus que des milliers de personnes.
One of my books to come as a publisher will not contain a single word, nor title, nor name of the author : just the legal mention and the legal obligatory copyright.
L’un de mes prochains livres en tant qu’éditeur ne possèdera aucun mot, aucun titre, aucun nom d’auteur : juste la mention légale avec son copyright obligatoire par la législation française.
Pierre Bessard
Canon: We’re Building a 120-Megapixel DSLR Published by Michael Zhang PETAPIXEL
Yesterday, Canon made a splash by announcing the development of a new 250-megapixel CMOS sensor — the highest resolution for a sensor smaller than 35mm. That sensor is geared towards industrial applications (e.g. surveillance), but if you’re dying to get your hands on a monster-resolution Canon DSLR, the company has some good news for you too.
Canon just announced that they’re currently developing a DSLR camera that packs a 120-megapixel CMOS sensor.
By comparison, Canon’s latest 5DS and 5DS R, the world’s highest-resolution full frame DSLRs, pack “just” 50.6 megapixels.
Canon says this next-generation imaging device will help to “expand the possibilities of visual expression” and “recreate the three-dimensional texture, feel and presence of subjects, making them appear as if they are really before one’s eyes.”
The company says it’s also working on an 8K Cinema EOS camera system (with a 35MP 35mm sensor, 13 stops of dynamic range, and 60fps) and an 8K professional-use display.
Sony-made sensors have been dominating sensor quality tests in recent years, and Nikon (which uses Sony sensors for some of its cameras) has been benefiting from Sony’s rise as well. Perhaps this shifting landscape is why Canon is heavily beating its own drum in the megapixel count department and fanning the flames of the megapixel war.
No word yet on when we might see this new 120MP DSLR officially announced… or how many arms and legs it will cost when it is.
see the link: http://petapixel.com/2015/09/08/canon-were-building-a-120-megapixel-dslr/
Camera Restricta – A disobedient tool for taking unique photographs written by Filip Visnjic
Created by Philipp Schmitt, Camera Restricta is a camera that locates itself via GPS and searches online for photos that have been geotagged nearby. If the camera decides that too many photos have been taken at your location, it retracts the shutter and blocks the viewfinder. You can’t take any more pictures here.
Algorithms are already looking through the viewfinder alongside with you: they adjust settings, scan faces and take a photo when you smile. What if your grin wasn’t the only thing they cared about?
The project is a comment on censorship and generic (tourist) photography. It also creates a sensing ability for this invisible data by translating it to acoustic feedback that reminds of a geiger counter. But instead of warning against radioactivity each clicking noise represents a photo detected nearby. The noise alerts of “infested” i.e. frequently photographed places and sometimes reveals photos in surprising locations. Searching for the source, you might discover famous buildings, great scenery or simply something like a fitness center — a place where people go to upload selfies.The European Parliament recently voted against a controversial proposal that threatened to restrict the photography of copyrighted buildings and sculptures from public places. The camera could be funded or subsidized by public and private sector institutions with an interest in regulating photography in certain places. It’s censorship that doesn’t happen after, but before a picture was taken. Think of it like trying to scan a bank note with your flatbed scanner at home: it doesn’t work, software prevents it. Shouldn’t this be just a tool? The camera prototype consists of a 3D-printed body. It houses electronics to move the shutter as well as a smartphone that handles GPS and data connection, generates the sounds and doubles as the camera screen. The phone runs a web app that queries a Node.js server Phillip built to query Flickr and Panoramio for the number of pictures nearby. The app (open source) synthesizes the camera sound in real-time using the Web Audio API. If the number is above a certain threshold, a photo cell mounted in front of the screen picks up a signal and transmits it to the microcontroller which then retracts the shutter.
SEE THE LINK http://www.creativeapplications.net/objects/camera-restricta/
Philippe Herbet, photographer from Belgium, is watching the proofs of his next photobook
Philippe Herbet at home, this afternoon with our new new project “Les Filles de Tourguéniev”. Will be ready before 22sd september ! Limited edition of 500 copies with a signed C-print.
Article on the magazine COLLECTOR DAILY: Hester Scheurwater, All I Ever Wanted By Loring Knoblauch / In Photobooks / September 3, 2015
Comments/Context: As the years pile up and social media becomes more and more central to how we communicate, there’s been an undeniable shift in our collective standards for what we share about ourselves and how we share it. This cultural evolution is more complex than just the proliferation of selfies; inside an environment where seeing and being seen are paramount, we’re slowly modifying the ways in which we define identity. We now take for granted a much more permeable boundary between public and private, and are generally unperturbed by fakery, staging, and performance as applied to ourselves and others. In these digital worlds, we’re all becoming exhibitionists in one form or another.
Hester Scheurwater’s provocative new project is both a reaction to this new reality and a deliberate testing of its limits. Begun as a daily photo diary posted to Facebook (which subsequently blocked her for crossing the lines of acceptable explicitness), it has now taken the form of an innovative photobook. As a brash commentary on the male gaze, feminine roles and objectification, digital voyeurism, and the boundaries of permissible behavior in this evolving electronic world we’re living in, it’s a thought-provoking blast of confidently exaggerated sexuality.
Using herself as the model and leveraging all of the common tropes of the selfie, she has created a parade of self-portraits that consciously linger near the edges of personal pornography. She spreads her legs (repeatedly, in nylons, panties, and nude), shows off her breasts, bends over or squats in heels, sticks out her tongue, lets her hair flow, touches herself, and sucks on various glass knobs, all with a sultry come hither look – as a daring performance of exhibitionist codes and erotic fantasies, it’s spot on. Her adopted attitude is one of assertive audacity, often edging into overt defiance and confrontation, challenging the viewer to be shocked or aroused or both.
Photographically, Scheurwater has taken ideas from Carolee Schneemann and Francesca Woodman and amplified and adapted them for the casual digital age. She uses her own body like a posable model and employs mirrors to twist angles and distort figures, allowing the flash to erupt in distraction or obfuscation, often in gritty blur or contrasty dark. Breasts double, shadows paint stripes and dots across expanses of flesh, and cameras are held in plausibly engaged first person narrative. Most of the shots seem to take place at home or in her studio, giving them a feeling of exposed intimacy. Part of what makes this series of images work so well is that we have a hard time separating the artist and the subject – she’s both, and so we unconsciously make assumptions about these pictures being a reflection of her own desires, when they are in fact a calculated performance. She’s tricked us, and that inversion is the essence of her point about the kinds of blatantly voyeuristic images she has made and their increasing acceptance in commercialized mainstream culture.
The book itself has an unusual construction – a series of individual saddle stitched booklets are connected by yet another booklet, fanned out and interleaved. Most of the booklets are thematically organized: images using hand mirrors (that reflect and don’t), images of Scheurwater in a striped shirt, images from a hotel room, mouth and tongue pictures (often dripping), shots with a large full length mirror (some with a Kertész-like warp), studio images in colored tights, images that use a dense wall of imagery as a backdrop, and images with one eye or otherwise obscured faces. Each discrete set of photographs feels like a volume in her larger construction project, each a facet of a staged personality or a knowing riff on some porn cliché.
While this photobook may be more sexually explicit than some readers will be comfortable with, it’s a natural extension of Kim Kardashian’s Selfish, but seen with the acerbic and questioning eye of an artist. She’s hyperbolized and hypercharged the kind of female objectification and fake identity we have become accustomed to seeing, and yet it somehow passes for almost normal; its satire is so convincing that it persuasively stands in for the real thing, and that dissonance is powerful. For those who have been waiting for a photographer to critically engage the wider phenomenon of the selfie, Scheurwater’s bluntly audacious photobook is memorably biting. She’s given us the mannered freedom and sexiness we’re supposed to want (or want to be), incisively exposing the two poles of exhibitionism and voyeurism that now dominate the Facebook-age.
Collector’s POV: Hester Scheurwater is represented by Frank Taal Galerie in Rotterdam (here). Her work has little secondary market history at this point, so gallery retail likely remains the best option for those collectors interested in following up.
JTF (just the facts): Published in 2015 by Editions Bessard (here). Softcover booklet construction, with 9 16-page booklets of imagery connected/glued together by a 10th booklet in red paper stock (which includes the essay). Includes 117 black and white and color reproductions and an essay by Patrick Remy. In an edition of 500. (Cover and spread shots below.)
ALL I EVER WANTED a photobook by the Dutch female photographer Hester Scheurwater Limited edition of 500.
Hester L Scheurwater‘s persona is an exploration into the existing
ideas on femininity. Her new book « All I Ever Wanted » published by
Editions Bessard consists of various leaflets like the different rooms
in a house, each reflecting its own atmosphere of Hester Scheurwaters
inner world, her fears and desires. She is using the depiction of women
in contemporary society to raise questions about individuality and
conformity, being just another female object or very much in control
over the male gaze? Photo bureau Kayser
