The Moth House @ A Bigger Book Fair, Peckham 24

21 May 2024

The Moth House will be participating at A Bigger Book Fair, Peckham 24, from 17-19.05.2024.
Please come and join us to view our latest titles including “Anton’s Hand is Made of Guilt. No Muscle or Bone. He has a Gung-ho Finger and a Grief-stricken Thumb”, a collaboration between Edgar Martins, David Campany, Will Self and others.

Unavailable

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Grandma

Elena Helfrecht

Grandma (2018), by Elena Helfrecht, is from her ongoing series“Plexus”, a photographic study of still lives that emerge from inherited trauma and post-memory, following the death of the artist’s grandmother. Through this series the artist reconnects the fragmentary history of her female lineage and confronts a past spanning across four generations, examining ideas around post-memory, mental health, war, and history.

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Grandma

From the series Plexus I Edition 1/3 I Artistic Practice Support Print Sales Program #3

£2,000.00

Last copies

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Topologies

David Campany, Edgar Martins, John Beardsley

This seminal book is brings together 5 bodies of work, inspired by both early 18th century evocations of the sublime and contemporary pictorial traditions.
But for all its historical evocation, the photographs in this publication are fraught with anxieties about ruin.

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Topologies

£36.00 Add to basket

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Make Men Great Again

Edgar Martins

This dypthic was produced in the context of the artist’s latest project What Photography & Incarceration have in Common with an Empty Vase, a project which results from a collaboration with inmates, incarcerated in the West Midlands, their families and a myriad of other individuals and community groups in the region.

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Make Men Great Again

From the series What Photography & Incarceration have in Common with an Empty Vase I Edition 1/3

£4,255.00 Add to basket

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When Light Casts no Shadow

Edgar Martins, Gerry Badger

This project was developed in some of the most interesting airports in Europe with a key role in history (the Azores, for example, was a compulsory stop for transatlantic flights prior to 1970 and a military base in both World Wars).
Almost all the images were produced at night, using an 8×20″ or 8×10″ camera as well as the aprons’ floodlights, moonlight, long or double exposures of between ten minutes to two hours. Sky and ground merge in darkness with only the lights and airport hieroglyphics to orient us.

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When Light Casts no Shadow

£35.00 Add to basket

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