The Final Cover is Here!

 

The final cover! True; it is not so very different from what the last picture showed -- except to me. The choices of font size, font color, and of course the actual font have been on my mind the last few months. One thing I didn't waiver on was how much I love this image with its ominious clock face, glowing pots, and door windows behind more door windows. I find myself drawn into this picture the way the children in the 1960's Mary Poppins film find themselves inside the chalk painting on a London pavement. To me, this kitchen doesn't make me want to cook, as much as it makes me want to enter a kind of timelessness. I image that the clock on the wall has read five past one for awhile, that the pots don't hold dinner, but something more alchemical.


This fragment of a larger photograph was taken by my friend, the German photographer, Philipp Schumacher, whose work I fell in love with this past summer while we were both artists-in-residence at Fundacion Valparaiso. You can view more of his strange and compelling work right here. In fact, I will try to link to the full photograph that my cover comes from, stag and all. If the link doesn't work quite right; it will be the fourth image from the left. These lichbilders, or photographs are all created as one shot movies. Phillipp is drawn to unusual landscapes that seem to me to function as dreamscapes. He photographs in abandoned mines, old convents, and public swimming pools -- to name but a few locations. As with a Hollywood film, Schumacher's photographs imply certain narratives. He excels in the unexpected detail - and I know his career has only just begun. You saw him here, first!