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Darkish Waters, Kristine Potter’s second monograph, continues her engagement with the American panorama as a palimpsest for cultural ideologies. On this darkish and brooding sequence, Potter displays on the Southern Gothic panorama as evoked within the widespread creativeness of “homicide ballads” from the nineteenth and twentieth centuries.
Her seductive, richly detailed black-and-white photographs channel the setting and characters of those songs, capturing the panorama of the American South, and making a sequence of evocative portraits that stand in for the oft-unnamed girls on the middle of their tales. Within the American homicide ballad, which has taken on cult attraction and proceed to be rerecorded even to this present day, the riverscape is incessantly the stage of crimes as described of their lyrics. Locations like Homicide Creek, Bloody Fork, and Deadman’s Pond are haunted by each the sufferer and perpetrator of violence on the planet Potter conjures, reflecting the informal and widespread glamorization of violence in opposition to girls that is still prevalent in at this time’s cultural panorama. As Potter notes, “I see a by means of line of violent exhibitionism from these early homicide ballads, to the Wild West reveals, to the modern panorama of cinema and tv. Culturally, we appear to require it.” Darkish Waters each evokes and exorcises the sense of menace and foreboding that ladies typically grapple with as they transfer by means of the world. Writer Rebecca Bengal contributes an evocative brief story that underscores the sense of hysteria and foreboding that Potter infuses into every of her photographs; a deliciously compelling, if chilling, mixture.
Darkish Waters is copublished by Aperture with Pictures Vevey and The Momentary
Kristine Potter was featured within the Summer time, 2020 difficulty of Juxtapoz.
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