JTF (just the facts): Published in 2007 by Thames & Hudson (here). 128 Pages, with 73 images, primarily in black and white. Includes a three part essay by Colm Tóibín and an afterword by the artist. (Cover shot at right, via Thames & Hudson.)Comments/Context: The Irish painter Sean Scully is probably best known for his earthy abstractions: checkerboards, blocks and stripes of alternating color, fit together with soft painterly edges. What is less well known is that Scully is also an accomplished photographer, and this book gathers together a series of black and white images he made of the miles of limestone walls on the remote Aran Islands, west of Galway.
While I imagine most visitors to these rugged islands take "travel" photos of the amazing walls, Scully has made images that clearly feed off his own aesthetic. The best of the pictures are those that select fragments of the intricate dry stacked walls and highlight their startling patterns: layers of flat rocks built up, interspersed with sea worn rounded stones piled in haphazard groups, mixed with flat rocks inserted vertically into the walls for stability, crackled with dark shadows. Often the images are made from a bit further back, using the sky and the grassy meadows as additional stripes of contrasting color and texture.
Of course, all of the photographs bear a striking resemblance to Scully's paintings. It is as if he has found a real place in this world that matches what he sees in his mind's eye; I can certainly imagine him wandering through these stark landscapes for days on end, following the lines and patterns of the ancient stones. This is a fine group of well made photographs, and an unexpectedly resonant book worth adding to your library.
Collector's POV: Sean Scully is represented by Galerie Lelong in New York (here) and Kerlin Gallery in Dublin (here). His photographs have not yet made any consistent appearance in the secondary markets, so no pricing pattern is readily discernible. While these images reminded me tangentially of Aaron Siskind's images of rocks on Martha's Vineyard and of Andy Goldsworthy's sculptured walls, the photographs themselves eerily echo Scully's paintings and his fascination with the interplay of line, tonality and form.
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