Slipcase by Chris Killip

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Description

Slipcase by Chris Killip

Signed copy of the slipcase from the 4 publications by Chris Killip

SKINNINGROVE 1981–84

“The village of Skinningrove lies on the North-East coast of England. Hidden in a steep valley it veers away from the main road and faces out onto the North Sea. Like a lot of tight-knit fishing communities it could be hostile to strangers, especially one with a camera. I last photographed in Skinningrove in 1984, and didn’t return for twenty-six years. When I did I was shocked by how it had changed, as only one boat was still fishing. For me Skinningrove’s sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone.”
— Chris Killip

THE STATION 1985

“I was photographing nightlife venues in Newcastle in 1985 when someone told me about The Station, an anarcho/punk venue in Gateshead. I was amazed by the energy and feel of the place. 1985 wasn’t a great time in Gateshead. It was after the miners’ strike and most of the punks at The Station were unemployed. Run as a very inclusive collective, their identity was embedded in the fabric of the place. It was also a rehearsal space and local bands who weren’t playing that night would be in the crowd dancing. The Station was a home for this community. Nobody ever asked me where I was from or even who I was; a thirty-nine-year-old with cropped white hair, always wearing a suit (as the jacket had pockets stitched inside to hold my 4×5″ slides). I had a big flat-bed plate camera around my neck and a hefty Norman flash with its outsize battery around my waist.”
— Chris Killip

THE STATION by Chris Killip tipibookshop

PORTRAITS 1970–89

“Making a portrait fills me with a certain amount of dread. It’s the impertinence of what you are about to do in reducing a human being into one fixed moment. You think about the subject’s complexity (knowing them makes this worse) and the predetermined limitations that surround any attempt at portraiture. Then you convince yourself that you have to try, and you go ahead. This brief moment between you and the person in front of you is based on their trust in your intent.”
— Chris Killip

THE LAST SHIPS 1975–77

”While I couldn’t help making the photographs of shipbuilding that I made, it was a personal obsession. At the time I didn’t exhibit or show them to anyone as I didn’t want to be thought of as an industrial photographer. I had a sense that all this was not going to last, although I had no idea how soon it would all be gone. I became the photographer of the de-industrial revolution by default, I didn’t set out to be this. It’s what was happening all around me during the time I was photographing.”
— Chris Killip

THE LAST SHIPS by Chris Killip

Additional information

Weight 1.400 kg