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  • Early & Later Black & White
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  • In Passing
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  • About Memoria
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  • Ansel Adams DAI 1994/2014
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  • Rule Without Exception by Lewis Baltz 1991
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  • Two Statements & Two Quotations

Sean Wilkinson Photography

Primary

  • Affinities
    • Affinities
    • About Affinities
  • China
    • China
    • About China
  • Dayton Part One
    • Dayton, Part One
    • About Dayton, Part One
  • Dayton Part Two
    • Dayton, Part Two
    • About Dayton, Part Two
  • Early & Later Black & White
    • Early & Later Black & White
    • About Early & Later Black & White
  • Emanations
    • Emanations
    • About Emanations
  • Flora Part One
    • Flora Part One
    • About Flora
  • Flora Part Two
    • Flora Part Two
    • About Flora
  • Flora Part Three
    • Flora Part Three
    • About Flora
  • Flora Part Four
    • Flora Part Four
    • About Flora
  • Flora Part Five
    • Flora Part Five
    • About Flora
  • Greenhouses
    • Greenhouses
    • About Greenhouses
  • In Passing
    • In Passing
    • About In Passing
  • Kaddish
    • Kaddish
    • About Kaddish
  • Memoria
    • Memoria
    • About Memoria
  • Norfolk Parish Churches
    • Norfolk Parish Churches
    • About Norfolk Parish Churches
  • Six
    • Six
    • About Six
  • Sketches from Memory
    • Sketches from Memory
    • About Sketches from Memory
  • BIOGRAPHY
  • TEXTS
    • Writing About Other Photographers
      • Ansel Adams DAI 1994/2014
      • Clarence White 2016
      • Desert Cantos by Richard Misrach 1991
      • Don Anderson 1992
      • Doug Prince 1983
      • Harry Callahan 2010/2016
      • Ron Geibert 1992
      • Rule Without Exception by Lewis Baltz 1991
      • Serrano Mapplethorpe WSU 1990/2016
      • Texts from A Birthday with Presence 1989
    • Writing About Photography & Other Topics
      • Being Here: Graul Chair Installation Address
      • DVAC Talk 2007 rev 2015
      • Learning from Minor White
      • Notes on Place
      • Photographs Photography 1990 2016
      • Photography and Translation
      • Photography as Fiction
      • Relationships
      • Two Statements & Two Quotations
  • CONTACT

About Affinities

Affinities (2002-2024)

Relationships among images – adjacency, sequence, dialogues, echoes, variations, etc. – have always been of interest to me. I am intrigued by the complexity of groups of images and the challenge of working out how to construct those groups in ways that enable each image to interact with and enrich the others.

It is one thing, however, to put together a group of images that are obviously related through an external, overarching identity, as is the case in much of my work, e.g. “China” and “Memoria”, although even within such groups sequencing is still of utmost importance. It is another matter to construct a coherent whole from images that are quite different from one another, and that originated in disparate times and places and were made for various purposes, and this is the case for “Affinities”. The link from one image to the next in such sequences is always likely to be more associative and implicit than logical and explicit.

VIEW AFFINITIES PORTFOLIO

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