Photobook – After West Mountain (Notepad Blogpost)
A short description as to why my book is called ‘After West Mountain.’
Within many different conversations with Ahmed, the immersive tone of speech and use of various dialects gives an experience that must be shared. Ahmed is so willing to share these stories, but because ‘no one ever asks, he never tells.’ It is a huge part in Ahmed’s life that has changed who he was completely. He feels like he’s reliving the very moments from seeing old photographs and images and gets really into what he has to say. Every moment we talk about his childhood, life and him moving to a different country, he would say ‘after this’ and ‘after that’ ‘we did this,’ it is a continual repetition and recollection of each thing that has happened. He would go off onto tangents of memories and evaluate what actually happened in detail of each scenarios by describing everything in the image and then reflecting on it.
- learning English, classes for 6 months
- the climb to top of West Mountain, 3 full days, slept two nights (march)
- bullet in the leg
- torture – tongue
- After West Mountain
- After The Revolution
- No-where Like Home
- ‘The Uk Is My Home, Libya Was My Life.’
Title page of book done right after the book was created because I didn’t want to mask the design and the layout of the book from the title text but allow me time to actually understand what the book offers that the framed prints don’t with the combination of archive material, scans and my own images. and then interpret that formulating a solid statement of what it is about.
(-After West Mountain
The spine between past and restoration.
A combination of text and imagery; the transcriptions coupled with photographs and records of the Libyan child soldier Ahmed Amer, ‘After West Mountain’ shares the conversations and stories that denote a life during the revolution pictured against the present. The collaboration of fluid discussion and relation, we uncover some imperative sections of one’s memory and journey documenting the undocumented.
‘My name is Ahmed. I’m from Libya. This is like my first time I go out of my country and just came here and start living.’)
screenshots from pages of the book:
Clean, edited and well selected. There is no particular direction. This book can be intended to be read the traditional method of left to right but it is made so that it can be read backwards from right to left. This references the style of book in Libya and the Arabic language. The text is read from right to left. (I would possibly print out a copy completely in Arabic.)
The book is designed so that all the pages open out flat. This is because it is a concertina design where the pages open out to be one long panoramic singular sheet folded precisely. Some pages open out so that the image can be seen in fall. The viewers can interact with the book and it changes the way that it is read.
It is planned that there is no sequence in the image an text because one may pick the book up, enter the centre page and still gather the experience it has on the viewer. It is also incomplete. I know that there are more things to include, but to keep it simple and not overcomplicate it, I’ve left it how it is. I feel it works how it is and the pages are so well constructed with the space and imagery used. The size of the text, the shape of the text, the positioning is all considered parallel to the images sets.
The works of
Fleur Kooiman – Oui
This inspired me to make a sleeve to build the aesthetic of the traditional book.
I was also originally going to do a concertina and have it coptic stitch bound down the spine but it would have taken time that I feel was unnecessary as it has a sleeve to keep it in place firstly. By not binding it together, the viewer is also allowed to stretch the pages apart and view a bigger image nicely flat and open on the surface of a table.