About this project
I am pleased to offer you the opportunity to participate in the publication of my first photography book, The Condition.
The 28 images in this body of work explore a quiet sense of solitude through looking at the way we interact with wildlife, the environment and each other. The series illuminates common yet alien settings as lonely, contemplative places.
Having never formally studied art, I attempt not to over-complicate my process. I shoot 35mm film and transparencies, then scan and print the images with minimal alteration. All work is untitled, undated and is non-location-specific as I want to allow people to interact with the images in their own space with no preconceived notions as to what it is they are seeing.
As a result, this approach to image making, editing, printing and sequencing is very considered and methodical. I wanted to ensure that the same approach was adhered to in creating the book, as detailed in the above video.
While the images have been widely exhibited throughout the United States over the past five years, I always felt that they could be best displayed in a stand-alone publication. However, I wanted to create a book that was not only a piece of art unto itself but also a representation of the idea behind the series.
A tactile experience in producing and interacting with the book was therefore central to how it needed to be designed. As a result, a unique style and page format was created in conjunction with bookbinder, Woody Leslie, utilizing a four foot piece of photography paper, such that the one-sided exhibition quality paper could be utilized, without using any adhesives.
Each book will be individually printed, cut and sewn into an open-spine publication and presented in a hand made cloth-covered slipcase. Once all materials are collated, each book will take Woody at least 10 hours to bind.
The choice to create something so detailed is also, as you would expect, expensive, which is why I need your support.
Any amount that you can contribute will greatly assist me in realizing my goal of creating this book and I have come up with a range of contribution levels and applicable rewards that I hope you find to be worthwhile.
If you would like to look at the images in this series, read Laurence Paverd's introduction, see my other work or to get any additional information about my art please visit www.zevjonas.com and more information about Woody’s books can be found at www.onepageproductions.com.
Thank you in advance for participating.
Risks and challenges
Over six months has been spent developing this project and many iterations of the page and book format, design and style have been tested and bound. As a result there is a great deal of confidence in the production process. The challenge will be in creating all of the books in sequence as the expectation is to produce a maximum of one book per day.Learn about accountability on Kickstarter
All 28 images from this series and the introductory text, in addition to all of my other work, can be seen at my site http://www.zevjonas.com
All work is untitled, undated and is non-location-specific as I want to allow people to interact with the images in their own space with no preconceived notions as to what it is they are seeing. This decision came as I continually saw art that was forceful in telling me how I should react and feel, whether through its style & approach or its leading title & description.
I thought it would be interesting to allow the viewer to converse and relate with the work in a space that they define. This meant that I wanted to give each person a clean slate to work with … even a date or a year can bring different memories or emotions back to someone, so I cleared all information with the hope that those that look at the work will see and reach a narrative that is more personal and powerful by having the room to breathe with the images.
All images are shot on 35mm film or transparencies and are a single non-manipulated image. I find that by simply looking at something from a different perspective or angle can illuminate common yet alien settings as lonely, contemplative environments that are encased, melancholy, passive and reserved. Sometimes utilizing reflections and/or refracting light can highlight an interaction that would not normally be seen.
What if I want more information or an explanation about an image? For example, is that polar bear dead or alive? Where did you photograph the woman in the water?
As a rule, I generally don’t like giving more information as I think it can stop the viewer questioning the image on an on-going basis. However, between posting this answer and the completion of the campaign, I will be giving additional information to backers through my weekly updates (to be posted each Sunday evening). Backers can ask questions if they so wish, and I will do my best to answer them, whether they are about the project as a whole, or a specific image.
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