joanne lee



Perhaps given my focus upon pink, it was inevitable that I also consider blue, its apparent cultural opposite. In Chroma, Derek Jarman suggested it had a special place amongst colours, and it was, of course, the one he focused upon in his last film work. The blues I explored during the Summer Lodge were inky pigments left behind on studio desks and a host of fabrics and plastics; I had never previously thought of the ubiquitous Jeye cloth as being at all remarkable, and yet once photographed it seemed the most sublime blue I’d ever encountered. Now the pictures are made I can also recognise what seems to have been a recurrent fascination with folds, creases, tears and joins, though this hadn’t been my explicit intention at all: I find it curious how the eye can be on the look out for things about which the conscious brain hasn’t yet acknowledged its interest.