EDITION OF 150
[Paris]: [Self-published], .
4to (295 × 212 mm), pp.. 9 black-and-white photographs (inc. cover). Saddle-stapled. Publisher's black envelope titled by the artist in white ink, mailing labels to previous owner. Fine in a mailed envelope.
First edition of 150. This devastatingly effective publication comprises of one photograph, the only one taken by Stephanian on the first and only occasion he was able to meet his son Lucas. This single photograph is revealed through a series of eight images, starting with a close-up of the boys face and zooming out to reveal the complete picture.
'...Lucas raises a whole host of questions of our perception of coupling, procreation and what children of this loss understand about the cornucopiae of human relations that shepherded them into existence. Not every father leaves, some are forced away.
...As we start with the close up and as Lucas is diminished page by page, he is also being pulled away from the viewer, kept at bay, pushed back away.
The sense of loss for Stephanian palpitates and creates a very difficult, but profound, use of photography to describe everything and nothing at the same time, for there is no text involved. That background story is incredibly personal and one would lose the context if you did not have insight into the project. This is not a failure, but a perfect representation of the problems we face placing too much context on an image without circumstance' (Brad Feurhelm in 1000wordsmag.com).