#palm studios

Hi guys it’s been a while,

I’m very happy to announce I’ve been shortlisted for the Palm* Photo Prize 2022!

There’s also a public vote for the peoples choice award and you can vote for me at this link! It’d be much appreciated!

Golden Persimmons II—Brian Kanagaki

Documenting absence

A table of fruit; a skyline, devoid of life; a ladder framed against sky—these laconic scenes, documentary snapshots of everyday life and its alienated torpor—make up the latest publication from Brian Kanagaki via London-based Palm* Studios. Taken over the course of six years, and split into three parts, the book—more akin to a catalogue, with the names of locations indexed at the work’s end—inhabit the space of melancholia; in softened monochrome.

There’s a visual similarity to the work of post-war German author and photographer W.G. Sebald, whose novels were punctuated by decontextualized black and white images which he himself had taken. The doorways of Terezin, a Czech concentration camp; piles of documents; bric-a-brac in a junk store window. Each scene conveyed not a presence but an absence; a void that surged around the image—escaping its frame. Likewise, Kanagaki’s images—this time mostly without text, excepting the index—reduce human existence to scenes without humans, though they carry the imprint of their having been present.

I HAVE A NEW BODY OF COLOR WORK OUT IN A NEW BOOK PUBLISHED BY PALM STUDIOS.

“PALM BOOK, THE LATEST RELEASE FROM PALM STUDIOS, IS A COLLECTION OF WORK FROM PHOTOGRAPHERS PREVIOUSLY SHOWCASED ON THE BRITISH PUBLISHER’S DIGITAL PLATFORM. THE BOOK PULLS TOGETHER ARTISTS FROM ACROSS THE GLOBE INCLUDING POLAND, ENGLAND, AUSTRALIA, ITALY, AND AMERICA, AND EXPLORES EACH ARTIST’S TAKE ON NATURE AND THEIR INTERACTION WITH THOSE SURROUNDINGS.

CAREFULLY CURATED BY PALM’S FOUNDER, LOLA PAPROCKA AND DESIGNED BY ART DIRECTOR, BRIAN KANAGAKI, PALM BOOK INCLUDES IMAGERY FROM RENATO D’AGOSTIN, VITTORIA GERARDI, JACOB LILLIS AND PANI PAUL ALONGSIDE THOSE OF KANAGAKI’S AND PAPROCKA’S.”

PUBLISHED BY PALM* STUDIOS FEBRUARY 2018 PRINTED IN EU FIRST EDITION 500 COPIES

Golden Persimmons II—Brian Kanagaki

Documenting absence

A table of fruit; a skyline, devoid of life; a ladder framed against sky—these laconic scenes, documentary snapshots of everyday life and its alienated torpor—make up the latest publication from Brian Kanagaki via London-based Palm* Studios. Taken over the course of six years, and split into three parts, the book—more akin to a catalogue, with the names of locations indexed at the work’s end—inhabit the space of melancholia; in softened monochrome.

There’s a visual similarity to the work of post-war German author and photographer W.G. Sebald, whose novels were punctuated by decontextualized black and white images which he himself had taken. The doorways of Terezin, a Czech concentration camp; piles of documents; bric-a-brac in a junk store window. Each scene conveyed not a presence but an absence; a void that surged around the image—escaping its frame. Likewise, Kanagaki’s images—this time mostly without text, excepting the index—reduce human existence to scenes without humans, though they carry the imprint of their having been present.

Golden Persimmons II—Brian Kanagaki

Documenting absence

A table of fruit; a skyline, devoid of life; a ladder framed against sky—these laconic scenes, documentary snapshots of everyday life and its alienated torpor—make up the latest publication from Brian Kanagaki via London-based Palm* Studios. Taken over the course of six years, and split into three parts, the book—more akin to a catalogue, with the names of locations indexed at the work’s end—inhabit the space of melancholia; in softened monochrome.

There’s a visual similarity to the work of post-war German author and photographer W.G. Sebald, whose novels were punctuated by decontextualized black and white images which he himself had taken. The doorways of Terezin, a Czech concentration camp; piles of documents; bric-a-brac in a junk store window. Each scene conveyed not a presence but an absence; a void that surged around the image—escaping its frame. Likewise, Kanagaki’s images—this time mostly without text, excepting the index—reduce human existence to scenes without humans, though they carry the imprint of their having been present.

Golden Persimmons II—Brian Kanagaki

Documenting absence

A table of fruit; a skyline, devoid of life; a ladder framed against sky—these laconic scenes, documentary snapshots of everyday life and its alienated torpor—make up the latest publication from Brian Kanagaki via London-based Palm* Studios. Taken over the course of six years, and split into three parts, the book—more akin to a catalogue, with the names of locations indexed at the work’s end—inhabit the space of melancholia; in softened monochrome.

There’s a visual similarity to the work of post-war German author and photographer W.G. Sebald, whose novels were punctuated by decontextualized black and white images which he himself had taken. The doorways of Terezin, a Czech concentration camp; piles of documents; bric-a-brac in a junk store window. Each scene conveyed not a presence but an absence; a void that surged around the image—escaping its frame. Likewise, Kanagaki’s images—this time mostly without text, excepting the index—reduce human existence to scenes without humans, though they carry the imprint of their having been present.

Golden Persimmons II—Brian Kanagaki

Documenting absence

A table of fruit; a skyline, devoid of life; a ladder framed against sky—these laconic scenes, documentary snapshots of everyday life and its alienated torpor—make up the latest publication from Brian Kanagaki via London-based Palm* Studios. Taken over the course of six years, and split into three parts, the book—more akin to a catalogue, with the names of locations indexed at the work’s end—inhabit the space of melancholia; in softened monochrome.

There’s a visual similarity to the work of post-war German author and photographer W.G. Sebald, whose novels were punctuated by decontextualized black and white images which he himself had taken. The doorways of Terezin, a Czech concentration camp; piles of documents; bric-a-brac in a junk store window. Each scene conveyed not a presence but an absence; a void that surged around the image—escaping its frame. Likewise, Kanagaki’s images—this time mostly without text, excepting the index—reduce human existence to scenes without humans, though they carry the imprint of their having been present.

Golden Persimmons II—Brian Kanagaki

Documenting absence

A table of fruit; a skyline, devoid of life; a ladder framed against sky—these laconic scenes, documentary snapshots of everyday life and its alienated torpor—make up the latest publication from Brian Kanagaki via London-based Palm* Studios. Taken over the course of six years, and split into three parts, the book—more akin to a catalogue, with the names of locations indexed at the work’s end—inhabit the space of melancholia; in softened monochrome.

There’s a visual similarity to the work of post-war German author and photographer W.G. Sebald, whose novels were punctuated by decontextualized black and white images which he himself had taken. The doorways of Terezin, a Czech concentration camp; piles of documents; bric-a-brac in a junk store window. Each scene conveyed not a presence but an absence; a void that surged around the image—escaping its frame. Likewise, Kanagaki’s images—this time mostly without text, excepting the index—reduce human existence to scenes without humans, though they carry the imprint of their having been present.