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Eamonn Doyle - ON: Eamonn Doyle Eamonn Doyle - ON: Eamonn Doyle Eamonn Doyle - ON: Eamonn Doyle Eamonn Doyle - ON: Eamonn Doyle

Eamonn Doyle - ON

Eamonn Doyle

ISBN 10: 0992848717 / ISBN 13: 9780992848712
Published by D1, 2015
New Condition: New Hardcover
From Setanta Books PBFA (Richmond, United Kingdom)

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First edition first impression in new condition, flat signed by author to front endpage, no markings this is a brand new book, please see pics, paypal accepted, any questions please get in touch. Bookseller Inventory # ABE-18962323810

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Bibliographic Details

Title: Eamonn Doyle - ON

Publisher: D1

Publication Date: 2015

Binding: Hardcover

Book Condition:New

Dust Jacket Condition: No Jacket

Signed: Signed by Author(s)

Edition: 1st Edition

About this title


Eamonn Doyle's second photo-book, 'ON, is a limited edition of 999 copies and follows last year's 'i', a collection of street portraits from Dublin city centre. In 'ON', black and white figures stalk across Dublin streetscapes, by turns lost, menacing, wary, browbeaten or entranced - but always at odds in some way with their environment. As in 'i', the photographs were mostly taken on Dublin's Parnell Street and O'Connell Street. But here the historic role of those two streets as zones of resistance, protest and insurrection is far more present. The very title of the book itself evokes a resistance - that doggedly existential kind identified by Samuel Beckett's narrator in 'The Unnameable': 'You must go on, I can't go on, I'll go on.' The figures are dynamic - muscles taut, heads in mid-turn, bodies in motion. Some flee the photographic gaze itself. Others stare challengingly down the barrel of the lens. Most appear caught up in projects so intensely private that they have an air of total inaccessibility. Rarely does the photographic act intrude so little on the lives of its subjects. Paradoxically, the energy is sought at precisely those moments when the unruly subjects look most likely to tear the images asunder. The central drama of the book could thus be said to be its subjects' struggle with representation - not necessarily against it, but writhing, wriggling, jockeying with it. The resulting images invariably draw attention to the photographic act. One never forgets that these images have been selected, framed, constructed. One is never tempted to identify the image with the subject of the image or to respond 'I know exactly how that person feels.' The interiority of the subjects is preserved; their dignity remains intact.

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