Wild Pigeon (signed)
by Carolyn Drake
Photographs: Carolyn Drake
Publisher: selfpublished
128 pages
Year: 2014
ISBN: 978-0-692-27539-9
Comments: An allegory, retold through visual collaborations with Uyghurs in Xinjiang. Original story by Nurmuhemmet Yasin Design by SYB. 24 x 31 cm. Hard cover. edition of 950 copies.
Traveling through China’s far western province with a box of prints, a pair of scissors, a container of glue, colored pencils, and a sketchbook, I asked willing collaborators to draw on, reassemble, and use their own tools on my photographs of the region. I hoped that the new images would bring Uyghur perspectives into the work and facilitate a new kind of dialogue with the people I met—one that was face-to-face and tactile, if mostly without words.
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Wild Pigeon (signed)
by Carolyn Drake
Photographs: Carolyn Drake
Publisher: selfpublished
128 pages
Year: 2014
ISBN: 978-0-692-27539-9
Comments: An allegory, retold through visual collaborations with Uyghurs in Xinjiang. Original story by Nurmuhemmet Yasin Design by SYB. 24 x 31 cm. Hard cover. edition of 950 copies.
Traveling through China’s far western province with a box of prints, a pair of scissors, a container of glue, colored pencils, and a sketchbook, I asked willing collaborators to draw on, reassemble, and use their own tools on my photographs of the region. I hoped that the new images would bring Uyghur perspectives into the work and facilitate a new kind of dialogue with the people I met—one that was face-to-face and tactile, if mostly without words.
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Two Rivers (last copy)
by Carolyn Drake
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Wild Pigeon
by Carolyn Drake
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Internat (signed - last copies)
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Wild Pigeon (signed)
by Carolyn Drake
Photographs: Carolyn Drake
Publisher: selfpublished
128 pages
Year: 2014
ISBN: 978-0-692-27539-9
Comments: An allegory, retold through visual collaborations with Uyghurs in Xinjiang. Original story by Nurmuhemmet Yasin Design by SYB. 24 x 31 cm. Hard cover. edition of 950 copies.
Traveling through China’s far western province with a box of prints, a pair of scissors, a container of glue, colored pencils, and a sketchbook, I asked willing collaborators to draw on, reassemble, and use their own tools on my photographs of the region. I hoped that the new images would bring Uyghur perspectives into the work and facilitate a new kind of dialogue with the people I met—one that was face-to-face and tactile, if mostly without words.
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Two Rivers (last copy)
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Wild Pigeon
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Internat (signed - last copies)
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Beijing (review copy)
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The Five Happinesses (signed + print)
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