At Spetses, photography is jewellery. From finding a precious object to cutting and polishing it, the eye is the chief tool of trade. The resulting piece enjoys a play of light, while condensing an expanse of time into a single moment. Each image is not a mere expression of form and colour, but a fountain of poetry and inspiration: it is an invitation to gently lead the curious viewer away from the passage of time.
Here, a rich blend of the finest pieces is presented. To mention a few from the Collection: ‘Ulysees’, a mysterious marvel that deftly conceals its true identity; or ‘Meir’, an unusual picture that contains the subject of no subject, or rather the whole as an indivisible subject. These sensuous pieces dexterously yet noiselessly sculpt the air of their surroundings – serving at once as enchantment and nectar for the refined.
Spetses the jeweller
Ulysees (left)
This curious and enigmatic vision proudly boasts its capturer’s clever perspective. Gleaming with hard edges and smooth lines, it presents itself as if a living organism. But what is this – the iris of an eye, or mountains, perhaps? To such a question, it replies ‘is not the very not knowing the essence of beauty?’ All the same, this nightly gem, scrupulous in its composition, never ceases to fascinate.
This image was featured as the album artwork for Ulysees by Justin Nozuka.
Aplin
Like velvet curtains, this piece caresses the viewer with the gentlest touch – all irrelevances quietly melt away. A picture need not speak loudly; at times, a light whisper may suffice. As with the finest pianist, the photographer must understand the gradations of softness within the softest touch. It is, in truth, a mark of trust – in the viewer’s sensitivity to perceive subtlest nuances.
Meir
Brilliant yellow and amber, interwoven with other amiable colours, form a cheerful mosaic. Even for a piece that appears as simple as this one, its selection was the result of choosing from countless candidates. The whole image serves as an indivisible subject, meant to be viewed in its entirety. As the Dutch painter Rembrandt once advised his patron Constantijn Huygens regarding The Blinding of Samson, such a work ‘sparkles well if placed in a strong light and in such a way that one can stand far back from it’ – a consideration which applies equally to this piece.
Sofia
Delicate lines of shadow produced by the tender light from above and scattered trees sing an air of restful melody. The picture resembles the Japanese painter Tohaku Hasegawa’s masterwork Pine Trees. In both pieces, it is as if the silence can be heard; the tender ambience evokes a sense of rejuvenation. Both pieces have eternalised a beautiful morning.
Spetses
Light gently filters through the stained glass windows, above which stand the personifications of Divinity, Law, Physic (medicine), and Mathematics, each with an air of splendour. This piece celebrates capturing a finest moment of the year. The scene holds special significance for the author – the Wren Library of Trinity College, Cambridge, where the piece now permanently resides.