The hill that wasn’t

Art Paper Editions
November 2013

28 pages
16 b&w images
185 x 260 mm
screenprinted linen cover

Edition of 500
Out of print

After it is gone, the landscape appears — Yutaka Takanashi

In The “Landscape” Appears, an essay written in 1984, Japanese photographer Yutaka Takanashi discusses a haiku by the poet Matsuo Basho, using it as a metaphor for landscape photography. ‘What is up to the photographer to do with the “landscape”‘, Takanashi writes, ‘is to encounter it, destroy it, rebuild it, and then release it.’ Therein lies the pursuit of a new “landscape”, the landscape of the photograph, the landscape of the haiku. One that not only relates an experience, but is an experience. Like Basho’s haiku. Maybe that is what The hill that wasn’t, in the form of a book, is about. I had seen the landscape many times, but it was not until that summer morning that I encountered it. And by photographing it and turning it into this book, I destroyed it, rebuilt it and released it.

 So The hill that wasn’t is about finally coming to see this small, unspectacular hill through photography. (…) It’s a universal landscape that is recognisable to almost anyone anywhere who has ever taken the time to glimpse at the slightly pointless landscape around them – and realise that actually it’s not that pointless at all. — Colin Pantall

The hill that wasn’t was selected for ‘Tafels’ (Tabels), a presentation of 80 artists’ books and special art books from Holland and Flanders. Curated by Maaike Lauwaert and Luc Derycke.