SORN is proud to acknowledge its collaboration with Berlin-based publishing house Hatje Cantz. As part of an ongoing series, we will be selecting publications from this premium publisher, which hosts a wide variety of art & cultural subjects in an accessible and visually provoking manner.
When it comes to any sort of discussion surrouning the work of artist and filmic director David Lynch, one often finds themselves on a labyrinthine search for a synthesis toward truth. But it is the latter – the notion of truth that he so effortlessly communicates with visual prowess, whether it be as a visual composer in film, or an artist creating work with paint or lithographs.
Before his work behind the camera, Lynch has attested to the fact that he wished “to be a painter” prior to engaging with the film medium. The pages within David Lynch – Lithos 2007-2009, presents a carefully curated overview of Lynch’s lithographic exploration and more importantly a glimpse into his skill as a technician of the lithographic medium. The publication includes beautifully detailed reproductions of plates which engage in typical Lynchian subject matter – love, death and an overall dalliance with surrealistic dreamscapes.
Among its visual reproductions is an interpersonal and engaging interview in which Lynch discusses his draw to creating these lithographs in the iconic neighbourhood of Montparnasse, Paris. “There was a magic in the stones – not in a rune-like fashion, but a historical magic, which lends to an ancient tale which is told and re-told to generation after generation.” he professes. The magic he speaks of comes to pass so elegantly from the infamous Solnhofener stones, and materialsises into the monochromatic and surrealistic images we see pressed within its pages.
There is an inherent play with figuration and more importanlty abstraction, which in turn give these lithographs a discordant life of their own, floating within a dreamscape where consciousness and the cusp of reality are inordantly blurred. The reproductions of these lithographs are nothing short of stunning, and typical of the artful and insightful care that Hatje Cantz affords to each one of their publications. As a whole, this book is a must for David Lynch fans and readers who are interested in the lithographic medium. It explores insights beyond the visual catalogue it lays bear, especially in its inclusion of a thought-provoking conversation between Dominique Païni (former director of the French Cinematheque) and Centre Georges Pompidou in Paris.